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Frontispiece 



The Magic Art 

BEING 

Volume 1 

of The Magic Art Series 

BY 

Donald Holmes 

Author of 

"SOME MODERN CONJURING," "NEW CARD 

TRICKS," "A MIND READING 

ACT," ETC. 

With Numerous Illustrations 



Published by the Author 
1920 




Copyright, 1920 

By 
D. H. ALSDORF 



To the Memory of My Mother 



CONTENTS 

PAGE 

THE TEA CHESTS OF WANG FOO Frontispiece 

PREFACE '? 

INTRODUCTION 9 

CHAPTER 1 

THE FAIRYLAND OF MAGIC , 19 

CHAPTER 2 

SOME ACCESSORIES AND ARTIFICES OF GENERAL; UTILITY . 32 

■ Holmes' Tumbler Manipulation 32 

The Watch, Handkerchief and Confetti 36 

The Egg and Handkerchief 43 

The Flying Glass, Watch and Flag 47 

How Many Goldfish? 51 

Holmes' Tumbler Manipulation on a Chair 54 

A Novel Exchange 57 

Holmes' Trick Glass Outfit 60 

The Bottomless Mirror Glass 61 

The' Bottomless Demon Glass 62 

The Bottomless Confetti Glass 63 

—The Mystic Handkerchief and Tumbler of Confetti 64 

Holmes' Crystal Jar Outfit 70 

The Crystal Mirror Jar 71 

The Crystal Confetti Jar 73 

Confetti to Water and Goldfish 74 

A Chinese Paradox 76 

CHAPTER S 

TRICKS— ORIGINAL AND OTHERWISE 80 

A Series of Card Tricks 80 

The Torn Card Trick 88 

The Harrington Method 89 

The Card in the Loaf 93 

The Card, Orange and Candle 96 

A Hypnotic Experiment 100 

The Cards, Coins and Glass 104 

Knarf's Coin and Ball of Wool 107 

The Coin and Orange Trick 109 

A Dye Tube "Wrinkle" 113 

Knarf's "The Flag Between" 114 

The Handkerchief Sword 115 

Improved Candle and Handkerchief Trick 118 

Holmes' Color Changing Egg 120 

(^Christopher's Egg and Bag Trick 123 

The Paper Balls and Plates ; .130 

The Chinese Marble Trick 132 

The New Spirit Handkerchief 134 

Gloves to Dove 138 

The Dove and Hat Trick I4u 

The Contrary Fluids 141 

The David Bell Funnel 143 

The Watch and Pill Boxes 145 

The Mysterious Dove Pans 148 

The Tale of a Rat 151 

-The Tea Chests of Wang Foo 157 

CHAPTER 4 

WORKING UP AN ACT 171 

Fun, Deviltry and Magic 172 

A Suit-Case Act 203 

"The Magical Man" 21'i' 



The Magic Art vii 



PREFACE 



In presenting Volume I of The Magic Art Series 
to the conjuring fraternity, I make no apologies for 
the inclusion of certain known tricks and devices. 
The book is not intended so much for the collector of 
magical literature as for that great host of aspiring 
amateurs, who, seeking after enlightenment in the 
world of conjuring, must turn to its literature for 
practical instruction. With this constantly growing 
demand in view, I have selected those tricks which 
best suit my purpose for practical instruction, be they 
old or new, and which I feel certain will please the 
average entertainer in this field. Some of the items 
are inserted by request such as material used in pre- 
vious hand-books of mine, and in most cases I have 
given later and better versions of such tricks. This 
also applies to several items from Roterberg's "New 
Era Card Tricks," "The Modern Wizard," and "Lat- 
ter Day Tricks," all three volumes of which are now 
out of print, and to which I hold the copyright. 

The entire purpose of the present book, in a nut- 
shell, is to give clear, practical instruction in conjur- 
ing in a manner that will enable the amateur to 
advance in, and be a credit to, his art. Previous 
efforts of mine in the arrangement of complete magic 
acts have met with such hearty approval, that I feel 



viii The Magic Art 

certain the present work will prove of some value to 
the student seeking such assistance. 

Subsequent volumes in The Magic Art Series will 
be uniformly bound with the present one, and their 
general makeup, as to style, thickness, etc., will be 
the, same, insuring, in the due course of time, a com- 
plete library on the Art of Magic. 



Donald Holmes. 



Kansas City, Mo., 
October 15, 1920. 



THE HISTORY AND PSYCHOLOGY OF 
NATURAL MAGIC 

By Heney Ridgely Evans, Litt. D. 

Author of "The Old and the New Magic," "The House 
of the Sphinx," etc. 

"Come, show us of thy magic, Egyptian; * * * wiiat 
canst thou do! Hast thou no new trick? By Serapis! if thou 
canst conjure as well as thou canst prophesy, thou shalt have 
a place at court. * * *" 

"Nay," I answered, "all tricks are old; but there are some 
forms of magic to be rarely used, and with discretion, that may 
be new to thee, O Queen!" — H. Rider-Haggard: Cleopatra. 

I. 

As a boy I stood in awe of the enterprising gentle- 
man who condescended to post bills in our town. I 
loved to watch him, slap against the fences the flam- 
boyant three-sheet theatrical and circus posters. One 
Saturday morning — ah, that delicious, never-to-be-for- 
gotten morning — I saw my friend, the bill sticker, paste 
upon a fence the most unique lithograph in the world, 
which excited my youthful mind and made me think 
that the Arabian Nights' Entertainments had been 
transported from the Orient to good old Georgetown, 
D. C, where I spent such happy years. The poster in 
question represented the necropolis of Memphis. Loom- 
ing up in the background was the Sphinx, majestic and 
weird-looking. In front of the stone monster stood a 
gentleman in evening dress (strange costume for an 
Egyptian desert) . He was engaged in taking from a 
silk hat all sorts of objects, animate and inanimate, 
such as rabbits, bowls of gold fish, ribbons, flags, reti- 
cules, flowers, doves, chickens, etc. An antique brazier 
with the smoke of burning incense rising from it was 
depicted to the left of him. At his right stood Me- 



X The Magic Art 

phisto, in the traditional red costume, pointing approv- 
ingly at him, as if to say : "A disciple of mine ; how 
do you like him?" Mephisto and his pupil were sur- 
rounded by a mystic circle of skulls and cabalistic 
characters. 

The poster was labeled in red letters : "Herrmann 
the Great ; the necromantic comedian, in his incompar- 
able entertainment of magic, mirth, and mystery." 

A magician ! I thought of Aladdin and the Genii. 
The stupendous picture plunged me into ecstacies of 
delight. I vowed to go and see the wizard who could 
perform such feats. The following Monday evening 
I was seated among the gallery gods in the old 
National Theater of Washington, D. C., awaiting with 
breathless excitement the rise of the green baize cur- 
tain. Finally, the bell tinkled, the orchestra began a 
dreamy waltz, and the curtain ascended, revealing not 
an Egyptian desert with a mysterious Sphinx, but a 
brilliantly lighted drawing room, set with tables in red 
and gold, upon which lay some curious apparatus. 

"Pshaw!" I exclaimed in supreme disgust, "no des- 
ert, no devil, no Sphinx (I was daft on Sphinxes in 
those days), no nuthin'!" Yes, I confess to the two 
negatives; all school boys are ungrammatical. They 
glory in it. Presently there entered a gentleman in 
evening dress, the replica of the figure depicted on the 
poster. About his neck, suspended from a red ribbon, 
was, a jewel of some kind, which I afterward learned 
was a chivalpc decoration given to him by the King 
of Spain, entitling him to be called ChevaHer. He was 
the Chevalier Alexander Herrmann, the famous necro- 
mancer. He said something in broken English and be- 
gan his performance. I began to sit up and take no- 



The Magic Art xi 

tice. My previous disgust was turned into wonder and 
delight. I forgot all about the pictured Sphinx and the 
Devil. Here was a real, up-to-date Sphinx and a Me- 
phisto, rolled into one. 

Some years ago I went to see a performance by 
Imro Fox that pleased me very much. The curtain 
rose on a gloomy cavern, in the middle of which stood 
a smoking, caldron, fed by witches a to Macbeth. An 
aged necromancer, habited in a long robe covered with 
cabalistic characters, entered. He made certain incan- 
tations, whereupon hosts of demons or elementals ap- 
peared and danced a weyrd ceremonial dance about the 
caldron. Suddenly amid a crash of thunder and a 
blinding flash of lightning, the wizard's cave was meta- 
morphosed into a twentieth century drawing room, 
fitted up for a conjuring seance, and the decrepit sor- 
cerer was changed into a smiling gentleman in evening 
dress, who began his up-to-date presentation of modern 
magic. He disclaimed all pretensions to the occult, and 
attributed his effects entirely to sleight-of-hand and 
ingenious mechanism. In this exhibition was epito- 
mized the entire history of the magic art. Beginning in 
ancient times as an actual effort to propitiate the pow- 
ers of light and darkness, to suspend at will the laws of 
Nature, to discover the destiny of man in the move- 
ments of the stars, to dispel sickness and the plague by 
incantations, to ward off demoniacal influences and the 
like, magic gradually assumed its present form as an 
amusing entertainment based on dexterity of hand and 
the wonders of optics, acoustics, electricity^ and me- 
chanics, with nothing supernatural about it. 

Magic in ancient times was closely allied to religion 
and the practice of the healing art. Egypt, Chaldea 



xii The Magic Art 

and Babylonia were the classic homes of sorcery and 
magical astrology. The Old Testament contains many 
allusions to necromancy, as witness the feats attributed 
to the Egyptian thaumaturgists and the story of Saul 
and the Witch of Endor. But the leaders of Jewish or- 
thodox thought were opposed to such practices, and 
went so far as to persecute sorcerers with fire and 
sword. "The old magic," says Dr. Carus, "is sorcery, 
or considering the impossibility of genuine sorcery, 
the attempt to practice sorcery. It is based upon the 
pre-scientific world-conception, which in its primitive 
stage is called animism, imputing to nature a spiritual 
life analogous to our own spirit, and peopling the 
world with individual personalities, spirits, ghosts, gob- 
lines, gods, devils, ogres, gnomes and fairies." 

Magic is usually divided into (1) White Magic, or 
the evocation of angels and beneficent powers; (2) 
Black Magic, or the summoning of demons; and (3) 
Natural Magic, or feats performed by dexterity and 
mechanical appliances, etc. Although believing im- 
plicitly in white and black magic, the medicine men, 
spirit doctors, and hierophants of olden times did not 
disdain to use natural means to overawe and surprise 
their votaries. 

The art of natural magic dates back to the remotest 
antiquity. There is an Egyptian papyrus in the British 
Museum which chronicles a magical seance given by 
a certain Tchatcha-em-ankh before King Khufu, B. C, 
3766. The manuscript says of the wizard : "He know- 
eth how to bind on a head which hath been cut off; 
he knoweth how to make a lion follow him as if led 
by a rope; and he knoweth the number of the stars 
of the house (constellation) of Thoth." It will be seen 



The Magic Art xiii 

from this that the decapitation trick was in vogue ages 
ago, while the experiment with the lion, which is un- 
questionably a hypnotic feat, shows hypnotism to be 
very ancient indeed. Ennemoser, in his History of 
Magic, devotes considerable space to Egyptian thau- 
maturgy, especially to the wonders wrought by animal 
magnetism, which in the hands of the priestly hierar- 
chy, must have been miracles indeed to the uninitiated. 
All that was known of science was in the possession 
of the guardians of the temples. An acquaintance with 
stage machinery and the science of optics and acous- 
tics was necessary to the production of the many mar- 
velous effects exhibited. Every temple in Egypt and 
Greece was a veritable storehouse of natural magic. 
Thanks to ancient writers like Heron of Alexandria, 
Philo of Byzantium, and the Fathers of the early Chris- 
tian Church, we are able to fathom many of the secrets 
of the old thaumaturgists. The hierophants were 
adepts in the art of phantasmagoria. 

When Christianity became the state religion of the 
Roman Empire, the old temple worship with its mystic 
rites and ceremonies was abolished. The grotesque 
gods of Egypt fled in affright before the more spiritual 
conceptions of the Christian faith. Like the classic 
gods of Greece and Rome they were metamorphosed 
into demons by the Christians. The thaumaturgists of 
the temples were scattered far and wide. Many of them 
eked out a living by the practice of astrology and divin- 
ation. With the waning of the ancient temple rites we 
see the gradual rise of natural' magic and prestidigita- 
tion divorced from the supernatural. But the common 
people, who were more or less steeped in the super- 
stitions of the past, still regarded the itinerant sleight- 



xiv The Magic Art 

of -hand performers as men possessed with demoniacal 
powers. The better to enhance the effect of their tricks 
the nomadic conjurers of the Middle Ages and later, 
often pretended to be aided by spirits, thereby render- 
ing themselves liable to punishment by the religious 
and secular authorities. Treatises combating these pre- 
tensions to genuine magic were issued from time to 
time by students of natural phenomena, the scientists 
of the sixteenth and seventeenth centuries. 

Roger Bacon, in his epistle De secretis operihvs artis 
et naturae et de nullitate magiae, says : "Whatever is 
beyond the ordinary course of nature or art is either su- 
perhuman or a pretence and full of fraud, for there are 
men who create illusions by rapidity of the movements 
of their hands, or by the assumption of various voices, 
or by ingenious apparatus, or by performing in the 
dark-, or by means of confederacy, thus showing to men 
many wonderful things which do not exist. Anyone 
who investigates the matter will find the world full of 
such things, for jugglers perform many deceptive feats 
by the dexterity of their hands." 

Bacon does not discredit the existence of real magic 
but combats the false ascription to it of phenomena 
that are explicable by natural means. He was one of 
the early workers in science, and possessed a laboratory 
where physical experiments were conducted. The com- 
mon people and many churchmen accused him of sor- 
cery and he was compelled tp go to Rome to clear him- 
self of the charges brought against him. 

In the sixteenth century conjurers wandered from 
place to place, exhibiting their tricks at fairs, in barns, 
and at the castles of noblemen. They were little more 
than strolling gypsies or vagabonds. Reginald Scott, 



The Magic Art xv 

in his Discovcrie of Witchcraft (1584), enumerates 
some of the stock feats of these mountebanks. The list 
includes "swallowing a knife; burning a card and re- 
producing it from the pocket of a spectator; passing 
a coin from one pocket to another ; converting money 
into counters, or counters into money ; conveying money 
into the hand of another person; making a coin pass 
through a table or vanish from a handkerchief; tying 
a knot and undoing it by the power of words ; taking 
beads from a string, the ends of which are held fast 
by another person; making a coin to pass from one 
box to another ; turning wheat into flour by the power 
of words ; burning a thread and making it whole again ; 
pulling ribbons from the mouth ; thrusting a knife into 
the head of a man; putting a ring through the cheek, 
and cutting off a person's head and restoring it to its 
former position." 

The seventeenth century is the age of the stroll- 
ing mountebank, who performed wherever he could 
get an audience — in stable, batnyard, street, or fair. 
From him to the prestidigitator of the theater is a long 
step, but no longer than from the barnstorming actor 
to the artist of the well-appointed playhouse. There is 
evolution in everything. It was not until the eighteenth 
century that conjuring became a legitimate profession. 
This was largely owing to' the fact that men of gentle 
birth, well versed in the science of the age, took up 
the magic wand, and gave the art dignity and respec- 
tability. 

It was not until the eighteenth century tha,t magic 
was shorn of its charlatanism. The celebrated Cheva- 
lier Pinetti, an Italian professor of physics, gained 
great fame as a prestidigitator. His tricks and auto- 



xvi The Magic Art 

mata were copied by hosts of successors. After Pinetti 
came Robert-Houdin, whose romantic life is recorded in 
his memoirs. Jean-Eugene Robert, known to fame as 
Robert-Houdin, was born at Blois, France, on Decem- 
ber 6, 1805, and died at St. Gervais, a suburb of Blois, 
on June 13, 1871. 

The crowning event of Houdin's career was his em- 
bassy to Algeria to overcome the influence of the Mara- 
bout priests over the ignorant Arabs. The Marabouts, 
or Mohammedan miracle-workers, were continually 
fanning the flames of discontent and rebellion against 
French domination. The French Government asked 
Houdin to go to Algeria and perform before the Arabs 
in order to show them that a French wizard, using only 
sleight-of-hand and the resources of science, was 
greater than the Marabouts, who pretended to occult 
powers and accomplished but simple feats. His success 
was most gratifying. The mission over, he returned to 
France and settled down at St. Gervais, near Blois, 
having ceded his theater to his brother-in-law, Pierre 
Chocat (M. Hamilton) . He had amassed a handsome 
fortune as a magician. In his retirement he devoted 
himself to scientific research. The application of elec- 
tricity to the running of clocks was his specialty. 



II. 

The question has often been asked: What is the 
oldest sleight-of-hand trick in the world? It is a dif- 
ficult one to answer, but if a consensus of opinion 
were taken on the subject the reply would probably 
be in favor of the cups-and-balls. Angelo Lewis, in 
his Modern Magic, proclaims this feat to be "the 



The Magic Art xvii 

ground work of all legerdemain." The paraphernalia 
used in performing the trick is very simple, viz : Three 
tin cups, an ordinary wand, a lot of small cork balls, and 
some large balls stuffed with hair and covered with 
cloth. The object of the experiment is to produce ap- 
parently the balls from the wand, known as Jacob's 
Rod, and make them successively appear and disap- 
pear underneath the cups; the combinations that can 
be formed are seemingly endless. "It is by no means 
uncommon," says Mr. Lewis, "to find spectators who 
have received riiore elaborate feats with comparative 
indifference, become interested, and even enthusiastic, 
over a brilliant manipulation of the cups-and-balls." 
Among latter day conjurers who excelled in this trick 
were Charles Bertram, Adrian Plate and Krieger, 
whose clever presentations I witnessed with great 
pleasure. The cup-and-ball trick is not suited for the 
modern stage, because the "spectators are seated too 
far away from the magician to appreciate the effects. 
But when the conjurer performs in a small room or 
hall the experiment is an ideal one. A bastard form 
of the cups-and-balls is known as "thimble-rig," which 
is used as a means of fleecing the unsophisticated rustic 
at country fairs and upon race courses. The mathemat- 
icians Ozanam and Guyot did not disdain to write 
treatises on cup-and-ball conjuring.* All books on the 
art of magic contain chapters on the subject. 

Eosco was the classic performer of the cup-and- 
ball trick. A Parisian newspaper thus announced one 
of his entertainments: "The famous Bosco, who can 
conjure away a house as easily as a nutmeg, is about 
to give his performances at Paris, in which some mira- 



*Guyot: Recreations Mathematiques et Physiques. 



xviii The Magic Art 

culous tricks will be executed." This allusion to the 
nutmeg has reference to the magician's cup-and-ball 
trick, nutmegs frequently being used instead of cork 
balls. Speaking of this remarkable man, Robert-Hou- 
din says: "Bosco is, beyond all question, the conjurer 
who has achieved the greatest success with the cups- 
and-balls. He gave special prominence to this trick, 
and performed it with all the gravity which he would 
have displayed over a piece of genuine magic." Hou- 
din, in his Confidences of a Prestidigitator, gives an 
account of Bosco's stage setting, his peculiar costume 
and his manner of introducing the cups-and-balls. 

Magic has always been a popular form of amuse- 
ment in the United States. Many of our native-born 
conjurers have attained great eminence, such as Harry 
Kellar, Harry Hoiidini, and Howard Thurston. Thurs- 
ton, the successor of Kellar, is keeping up the best tra- 
ditions of the stage, while Houdini works a field pecu- 
liarly his own, that of handcuff releases and thrilling 
escape acts. Kell?ir, the dean of American magicians, 
has retired from the stage, after a long career of un- 
bounded success. In closing I wish to acknowledge my 
indebtedness for many hints in the preparation of this 
introduction to my friend, F. Trewey, the famous pres- 
tidigitator, juggler and pantomimist of Asnieres, 
France. 



THE MAGIC ART 

CHAPTER I 
The Fairyland of Magic 

THE art of natural magic comes down to us from 
the remotest antiquity. Derived from the Per- 
sian magi, meaning a caste of priests, philosophers 
and magicians, among the ancient Persians, it was 
synonomous with necromancy and witchcraft, and 
many lives were sacrificed by fire and sword for the 
supposed practice of a power beyond the conception 
of the human mind at that early period. The tem- 
ples of Egypt teemed with magic and mystery. The 
Greeks and Romans not only possessed great knowl- 
edge of the art, but were adepts in ledgerdemain. 
And thus magic worked its way down through the 
barbarous times of the Middle Ages. The dawn of 
the eighteenth century marked a new era in the prog- 
ress of conjuring. Men of education, with a trend 
toward science, entered the profession, and their untir- 
ing efforts ultimately lifted the art of magic to the 
high level of legitimate entertainment that it now 
occupies. Not, however, until 1844 did the era of 
modern raagic dawn. In this year Robert-Houdin, 
now recognized the world over as thd "Father of 
Modern Conjuring," inaugurated his Fantastic Eve- 
nings at the Palais Royal, Paris. His reformation 
from the charlatanry of the past ages astounded the 
world, for he presented tricks of a different order and 
in a different manner than anything ever before 
dreamed of. The suspiciously.draped tables of his 
predecessors (employed for the concealnient of con- 
federates) were displaced by light, skeleton-built 
tables, elegantly appointed; but perhaps the most 



20 The Magic Art 

startling innovation of all was his adoption of evening 
dress instead of the orthodox flowing robes of the con- 
jurers of olden time. 

Today, stripped of all religious significance, 
magic stands forth as one of the most fascinating, yet 
one of the most incomprehensible, arts known to man- 
kind — a mere fraud, as it were, openly professed and 
as pleasantly accepted — for the magic of today is a 
never failing source of interest and entertainment. 

Thus it will be seen that the history of this most 
fascinating art is a deep ^and absorbing pne ; in fact, 
to thread out its many phases so deeply buried in the 
past would well i-epay one's efforts many times over. 
But I must leave this to the student's fancy, and pass 
on to the subject undoubtedly foremost in the reader's 
mind — the Fairyland of Magic, a land full of bewitch- 
ing surprises^the pastime of magic. 

Great as was the reformation in Robert-Houdin's 
day, the advancement of modern magic along scien- 
tific lines within the past quarter of a century has 
been still more remarkable. The secrets of the mod- 
ern conjurer are no longer locked within the bosoms 
of a comparative few, and any persevering person, 
possessed of average intelligence, and a willingness to 
comply with the cardinal precepts of the art, may 
easily enter this vast Land of Mystery and partake of 
the pleasant surprises there awaiting him. And 
more. Study, recreation, fascinating entertainment 
for one's friends, as well as the sharpening of the 
student's mental faculties — all these come to the devo- 
tee of conjuring. 

In the beginning I can not^too strongly impress 
upon the neophyte the importance of beginning right. 



The Magic Art 21 

What is magic? What course is necessary to become 
a successful conjurer, or, at least, to enable one to 
perform a few tricks well? 

The novice should look into the theoretical side 
of the subject before he attempts its practice. Not 
only will he make better headway by so doing, but he 
will acquire a better understanding of the art; he 
will take up its practice with a better knowledge of 
its requirements; and the fascination of its many per- 
plexing problems will steadily grow upon him. 

If you have already purchased some magical lit- 
erature, you are probably no better off than the aver- 
age amateur. In other words, you are quite at sea 
so far as taking the right course to fit yourself for 
the proper presentation of at least a short programme 
of conjuring tricks. The fault lies not so much with 
the books as with yourself. You have probably 
obtained a fair knowledge of the principles of "sleight- 
of-hand," hastily passed over in the reading, and hur- 
ried, on with feverish excitement to learn the secret 
of this or that trick which has heretofore baffled you 
at the performances of professional magicians. You 
have practiced, and practiced hard, for a time, on cer- 
tain "palms" and "passes," "without which," so the 
books have told you, "no one can become proficient in 
conjuring;" only to tire* of the monotony of such prac- 
tice after a time, and cast the subject from your mind 
as being too difficult, or requiring too much hard 
work, to be devoted to a mere "hobby." 

Now, as a matter of fact, is anything attained 
without work? I know of nothing in the way of rec- 
reation (or a "hobby," if you prefer it) that so well 
repays one for his time and pains as the study and 



22 The Magic Art 

practice of conjuring, when followed in a practical 
manner. The possibilities are endless. 

To turn to the practical study of magic, I am 
positive that it can be acquired by anyone who is will- 
ing to devote sufficient patience and practice to its 
requirements. Do not be afraid of that word prac- 
tice. The majority of books lay such stress upon this 
requirement there is little wonder the aspiring ama- 
teur often becomes discouraged, at the outset. Prac- 
tice is one of the essentials for successfully attaining 
proficiency in sleight-of-hand, just the same as in the 
acquirement of music, or any other art ; but the ama- 
teur must first prepare himself for practice. 

I do not wish my statements with respect to pres- 
ent day conjuring literature to be misconstrued, as I 
do not for one moment consider myself in a position 
to criticise or pose as an authority upon the subject. 
On the contrary, I would most strongly recommend 
the novice to obtain at least a small library of books 
on the subject, and study them well, leaving, for the 
time being, the practice of the tricks themselves for 
later acquirement, devoting his time in the beginning 
to the theoretical side of magic. In this respect the 
more knowledge he receives of the fundamental prin- 
ciples of sleight-of-hand, including such important 
branches as misdirection, elocution, etc., the more 
rapid will be his progress, and the more lasting his 
fascination for the art. I have yet to see the book 
dealing with this subject that has not imparted some 
ideas well worth retaining. Conjuring literature is 
steadily increasing each year, but the literature of the 
present day covers practically only the "latest novel- 
ties," which, at the outset, the student will not re- 



The Magic Art 23 

quire; in fact, they would only serve to confuse him 
through lack of detail. Later on, as progress is made, 
the "novelties" may be considered, at which time it 
will be found helpful to keep in touch with the dealers 
for the latest books on the subject, and subscribe to 
one or more good conjuring magazines, in order to 
keep pace with the art. 

Although I have said that any person of average 
intelligence may take up conjuring by careful observ- 
ance of its cardinal precepts, it would be superfluous 
to claim that all who do so will succeed even in the 
slightest degree. Just as in any other art, there are 
individuals who would never, in a life time, pass' mus- 
ter as the most unpretentious conjurer, through their 
total unfitness for the work. It can not be disputed 
that the gentle art of hocus-pocus takes a full meas- 
ure of "nerve" for its successful practice, but if the 
neophyte, who. is about to take the step for pleasure or 
for profit, will first devote a little intelligent study 
to the subject, and thus obtain the full import of the 
word, his chances for becoming a successful conjurer 
will be strengthened many times over. 

Again I say, what is miagic? Is it the mere me- 
chanical working of a piece of apparatus with whose 
true construction the audience is not aware? Is it 
magic when the conjurer holds his auditors spellbound 
by mere digital dexterity? Neither of these astounds 
or mystifies the average spectator without the proper 
dramatic element to weave the mystic spell. If the 
reader ever witnessed the inimitable Alexander Herr- 
mann (Herrmann the Great) in his day, he will read- 
ily recall the atmosphere of charm, of perfect ease, 
and baffling mystery that surrounded the great necro- 



24 The Magic Art 

mancer's every move. His very presence on the stagii 
lent an awesome feeling of something beyond mere 
trickery acquired by years of untiring practice. In 
digital dexterity it is said that no man was his equal, 
yet without this great understanding of his art, Herr- 
mann's digital dexterity would have counted little. 

The proper presentation of a conjuring trick, 
therefore, consists of more than the mere mastery of 
its mechanical working, even though such trick in- 
volves the acquirement of some difficult "palm" or 
"pass." Not only must the trick be performed well 
in a mechanical sense of the word, but unless the per- 
former carries it through with proper manner, ges- 
ture, and arrangement of conversation, much of the 
effect is lost upon his auditors. Right here, no doubt, 
is where the average amateur "falls down" at the very 
beginning. He devotes practically all of that prac- 
tice to the bare mechanical working of the trick, and 
ignores altogether the manner, gesture, and arrange- 
ment of conversation, i. e., the plot on which the 
trick should be built. 

In order to conceal his real doings, the per- 
former arranges his conversation to divert the minds 
of his auditors, and by such means skillfully accom- 
plishes those secret things upon which the success of 
his trick depends. Misdiiection, therefore, is one of 
the most essential requirements in the practice of 
magic. 

The old theory that "the quickness of the hand 
deceives the eye" has long since been exploded. On 
the contrary, the conjurer's manner should be one of 
perfect naturalness and ease. For the drawing-room, 
especially, his style should be neither profound, mys- 



The Magic Art 25 

terious, nor burlesque to a marked degree, but rather 
the natural conversational. His "patter," 1. e., the 
conversation, with which he clothes his tricks, should 
be bright, witty, without bordering on smartness (iJ: 
he is naturally witty, so much the better), and enter- 
taining, at the same time carefully arranged along 
some well defined "plot" for each and every trick, 
with due regard for the successful misdirection of 
his auditors at the psychological moment. Above all, 
he should take his time, both in speech and act, giv- 
ing those present the fullest opportunity to compre- 
hend just what effect he is striving to attain for their 
benefit. 

Let us take it for granted that the student has 
acquainted himself with the theoretical side of the 
magic art, through the channels of current literature 
on the subject, or otherwise: that he understands to a 
reasonable extent what arts and sciences will be 
called into use for the proper presentation of a series 
of tricks. It now remains for him to learn the me- 
chanical working of such tricks that he may select, 
and the actual presentation of same. There are tricks 
with cards, coins, billiard balls, handkerchiefs, eggs, 
and even doves and rabbits; tricks depending upon 
chemical means, and others upon mathematics and 
optics. Some call for pure sleight-of-hand, while oth- 
ers are so mechanical in their working that the veriest 
child could operate them, so far as mere operation is 
concerned. 

Out of this vast Land of Mystery the amateur 
must select those tricks best suited to his own individ- 
ual skill and style of working. The books you have 
obtained will tell you that this and that "palm" and 



26 The Magic Art 

"pass" are essential to your success. This is very- 
true, in one sense of the word, for if yuu attempt 
tricks depending upon such sleights, you will most as- 
suredly require them. It is the ability to define what 
tricks are best suited to the skill of the beginner, aa 
well as the individual, that has much to do with his 
progress and interest in the art. If the opportunity 
is yours to take a few lessons from an experienced 
magician, by all means take advantage of It; and the 
same applies to a course of dramatics in some good 
school. 

Probably one of the greatest drawbacks in the 
beginner's progress is too close attention to the ortho- 
dox methods of conjuring, when the knowledge is ob- 
tained from books alone; in other words, he does not 
seek sufficiently after originality. With present 
day audiences it is not so much the trick itself that 
"takes," even be it ever so old, as the manner in which 
it is presented. In the present book I shall mention 
tricks that have been before the public manj'^ years,-in 
some instances since the days of Robert-Houdin, for 
we can not get away from the old masters in conjur- 
ing any more than in music or any other art. Many 
of these tricks are considered "professional" tricks, but 
the amateur will have no great difficulty in mastering 
them providing he will first confine his efforts to 
those tricks within his skill, and thus prepare him- 
self, by degrees, for the higher class of conjuring. 

The beginner should bear in mind there is in- 
variably more ways than one for obtaining a certain 
effect, and this need not necessarily be obtained by 
pure sleight-of-hand. The sooner he gets the idea 
out of his head that, to be a successful magician, he 



The Magic Aet 27 

must resort to sleight-of-hand exclusively, the more 
rapid will be his progress; for sleight-of-hand is not 
always the best way for obtaining an effect, and. as a 
rule, not the easiest. It matters not what means you 
employ, so long as the result is what you are striving 
to attain. 

And right here I want to pass a few remarks on 
a problem that is pretty sure to confront the novice 
at the very beginning. -If he has purchased a few 
books on conjuring, and studied them more or less, he 
will note upwards of half a dozen methods for obtain- 
ing certain effects. They are all clever and effective, 
but which method is the best? I believe this question 
confronted the writer more than any other during his 
early studies of magic. Professor Hoffmann, in his 
book, "Later Magic," states in connection with the 
multiplicity of appliances for the same purpose: 
"Which of all these is the best? * * * the method 
which a conjurer finds he can work most satisfactor- 
ily is, for him, the best, though there may be half a 
dozen 'novelties' of later date for the same purpose. 
In point of effect, by all means seek after novelty, but 
in regard to artificial aids, it is by no means a cer- 
tainty that the later appliance, however ingenious, 
will fulfill its purpose any better than, or even as 
well, as the good old fake, whose use custom has made 
second nature. Do not therefore jump at a 'latest 
novelty,' but test it very carefully before abandoning 
an old one in its favor." 

And too much stress can not be laid on these 
words. Adopt the method that is best suited to the 
individwal. Because the great magician So-and-so 
performs a certain trick in a certain way is no rea- 



28 The Magic Aet 

son that you must do it precisely the same. Still, on 
the other hand, it is sometimes advisable for the ama- 
teur conjurer to acquire more than one method for 
accomplishing the same effect. The reason is obvious. 
In drawing-room work he appears more or less before 
the same audiences, and he is therefore compelled, 
oftentimes, to adopt new means for presenting the 
tricks in his repertoire. With a little study and inge- 
nuity, however, this is easily done in most cases. For 
instance, in the pretty trick of the "Color Changing 
Handkerchiefs," the effect is invariably identical in 
all versions, yet almost every performer today has 
his own particular method of working. By this it will 
be seen that it is not the effect that must be altered 
to suit the occasion, but the means by which such 
effect is obtained. 

We now come to one of the most important 
branches of the Magic Art, — the "patter," i. e., the 
conversation, with which the magician clothes the 
working of his tricks. I have already made reference 
to the importance of this branch of conjuring, but too 
much stress can not be laid upon it, for undoubtedly 
it is the most neglected by the aspiring amateur. No 
matter how expert or finished the amateur (or the 
professional either, for that matter) may be in the 
execution of his tricks, more than half their effect is 
lost upon the audience if his patter is poorly arranged 
and delivered in a clumsy, school-boy fashion. 

Not only does a careful arrangement of patter, 
properly delivered, add the "finishing touch" to a 
magical experiment, but it is most essential in misdi- 
recting the attention of the audience from the things 
you do not want them to see. 



The Magic Art 29 

Speaking before an audience may, or may not, 
be a secondary consideration with you, but in conjur- 
ing the performer must practically accomplish two 
things at one and the same time : he must have his 
lines at the tip of his tongue for the misdirection and 
entertainment of his audience, while his own atten- 
tion is devoted to the execution of the tricks he has 
undertaken, even though his movements may be 
directly the reverse to what his patter leads his audi- 
ence to infer. 

Acquire the habit of using patter from the begin- 
ning, even in your practice. Make it. short and to 
the point. There appears to be a strong impression 
among amateur conjurers that to misdirect an audi- 
ence requires an endless flow of "talk" of the rapid 
fire variety, but no greater mistake could be made. 
Take your time, from your opening address to the dis- 
missal of your audience. Do not make a tiresome dis- 
course on a subject of little moment to your auditors, 
and, above all, let your remarks be delivered in a 
'perfectly natural manner, as if they were not prear- 
ranged at all. 

If possible, take at least a few lessons in elocu- 
tion. This will be of more downright value to you 
than months of study and practice by yourself. 

When you have mastered the working part of a 
trick, sit down and compose an accompaniment of ap- 
propriate patter, — clothe it, as it were, into a finished 
article of conjuring. To the beginner, originality 
can not, of course, be attained at the outset. If you 
have followed my advice, and purchased a small library 
of magical books, you will find therein many examples 
of patter for various kinds of tricks, which, by a little 



30 The Magic Art 

revision, may be made to answer the requirements of 
your own programme. By this means you will not 
only get an idea of the proper use of patter, but will 
soon find yourself in a position to acquire a style of 
your own, which you should most certainly do at the 
earliest moment. 

By a careful study of the patter used by leading 
professionals, it will be noted that conciseness is es- 
pecially observed, yet perfectly comprehensible and 
entertaining ; at the same time being so arranged that 
the misdirection of the audience is cleverly effected. 

When you have drawn up the patter for a trick, 
try it as you run through the performance of the trick 
itself. This will show many defects that should be 
corrected. Then try it over and over again, each time 
improving it a little, until it sounds right, and enables 
you to deliver it in a natural manner. Eliminate all 
words or phrases that sound strained or out of place. 

Having arranged your patter satisfactorily, for 
the time being, at least, the next step is to commit 
it so thoroughly to memory that you can deliver it 
freely while your mind is occupied with the actual 
performance of the trick. This will be found quite 
a different thing than merely running over the lines 
with notes to prompt you, and it will take some little 
time and perseverance to properly fit yourself for 
the proper presentation of each and every trick in 
your programme. 

But bear in mind one fact: There is always 
room for improvement, and the successful conjurer is 
the one who is constantly adding a touch here and 
there to the weak points in his show, both as regards 
patter and the tricks themselves. A good trick does 



The Magic Art 31 

not necessarily constitute a glittering array of appa- 
ratus or adeptness in sleight-T>f-hand. The perform- 
er's manner, gesture and conversation have consid- 
erab 13 to do with it^? success. 



CHAPTER II 

Some Accessories and Artifices of General 
Utility 

IN this chapter I shall describe several pieces of ap- 
paratus, as well as certain clever subterfuges, 
adapted to a large range of uses in conjuring. 

I have always advocated the purchase of such 
"general utility" apparatus by the amaieur, for it not 
only offers him a wide range of effects, but will tax 
his ingenuity in working out new combinations. 

The Magic Pistol, the Changing Bag, the Drawer 
Box, the Mirror Glass, the Bottomless Glass, and 
many similar devices all come under the head of gen- 
eral utility apparatus, and are regularly stocked by 
most dealers. Provided with some of these, and es- 
pecially a combination of trick glassware, any ama- 
teur with a practical turn of mind can arrange a very 
satisfactory conjuring entertainment. 

The author takes pleasure in acquainting his read- 
ers with three very useful combinations of trick glass- 
ware, each of which is adapted to a wide range of 
effects, quite different from the other. The value of 
such combination outfits is threefold. First, many 
different effects are made possible; second, by com- 
bining several similar principles, the duplication of 
certain parts is done away with; and third, economy 
in the purchase price. 

Holmes' Tumbler Manipulation 
In conjuring, substitution is one of the many im- 
portant factors which enter into the success of the 



The Magic Art 33 

wizard's mysterious feats. The conjurer of olden 
time boldly draped his tables to the floor for the con- 
cealment of confederates, who performed frequent sub- 
stitution of articles secretly passed to them; for the 
tricks of that early period invariably hinged upon 
these, and kindred, expedients. Latter day conjurers, 
while doing away with the heavily draped tables and 
confederates of their predecessors, as well as the 
wholesale use of secret exchanges of objects entering 
into their experiments, are still confronted with the 
necessity of an occasional substitution, which, in the 
case of objects too bulky for palming, are exchanged 
with the aid of a servante on the back of the table. 

In the several tricks next following I shall out- 
line an original principle of my own, involving a spe- 
cial Black Art table and the secret exchange of one or 
more objects in the most subtle manner; said exchange 
being accomplished through the agency of the con- 
jurer's friend, the glass tumbler. The several move- 
ments essential to its success are so commonplace and 
natural that, with anything like reasonable care, de- 
tection is impossible. This principle is of greatest 
value in so-called transposition tricks involving the 
use of small objects, such as watches, rings, handker- 
chiefs, coins, etc., and possesses the unique feature that 
the objects making such invisible flight may, in many 
cases, be borrowed from the audience, and everything 
may be freely inspected at the conclusion of the trick 
without giving a clue to the methods employed. 

The suggestions here laid down are subject to 
much variation. In fact, wh§p pnce the reader has 



34 The Magic Art 

acquainted himself with this novel principle, he will 
doubtless find many good uses for it, according to 
his own ideas and requirements. 

The author first revealed this original system of 
tumbler manipulation in his hand-book, "Some Mod- 
ern Conjuring," published in 1909, since which time 
sundry eiffective additions and improvements have 
been added, which are now presented to the fraternity. 

I shall first describe the special Black Art table, 
which is not only essential to the system about to be 
explained, but is adapted to many other good uses. 

This table top really differs very little from others 
of the Black Art type, but its size and the particular 
location of its wells are essential, hence the necessity 
of a description. 

The top is only 12x15 inches in size, and I mount 
it on a good, substantial table base, to secure good 
stability. There is considerable advantage to be 
gained by the conjurer, in certain tricks, by the em- 
ployment of a small table top. For one thing, with 
the surface of the table limited in space, the per- 
former oftentimes finds a necessary excuse for pick- 
ing up or putting down various objects thereon, with- 
out exciting suspicion. But the main thing in em- 
ploying the small top for my Tumbler Manipulation 
is to enable me to keep the objects employed at the 
front of the table in view of my spectator^, and at 
the same time permit me to stand close to the table 
and perform the necessary manipulation without too 
great an arm reach. The height of the table is also 
carefully adjusted to prevent awkward movements. 



The Magic Art 



35 



If my fellow conjurers have never used a small Black 
Art top for manipulative tricks which employ a table, 
I can highly recommend the same. 




Fig. 1 

My 12xl5-inch top is, of course, covered with the 
conventional black silk velvet, with a sort of checker- 
board design laid off with old ivory colored ribbon 
one-quarter inch wide. I prefer the old ivory ribbon 
to that of a gold color, as the contrast against the 
black velvet is much stronger. In order to obtain 
two openings of unequal size in the table top, and 
still conceal their presence by the aid of a checker- 
board design, the rows of ivory ribbon are, of neces- 
sity, closer together near the front of the table top, 
widening out as they approach the large opening near 
the back. But, owing to the laws of perspective, this 



36 The Magic Aet 

irregularity in the design is never noticed, or, in fact, 
cam it be discovered at a little; distance from the 
table. Fig. 1 shows the location of the two wells, the 
larger of which, placed close to the rear edge of the 
top, is some three inches square. The smaller opening 
is close to the front edge, in the extreme right hand 
corner as I stand behind the table. This latter open- 
ing measures two inches square. The bag in the 
larger well is some four inches deep; that in the 
smaller well being but three inches. A five-inch bro- 
caded plush drape completely encircles the top. 

The Watch, Handkerchief, and Confetti 

The effect of this mystifying little trick is as fol- 
lows: A lady's borrowed handkerchief and watch 
are deposited in a small tumbler, which is then covered 
with a second handkerchief, secured with a rubber 
band, and placed in the keeping of a spectator. Hav- 
ing thus disposed of the watch and handkerchief, the 
conjurer visibly fills a second tumbler with confetti, 
which is covered in like manner with a handkerchief. 

A transposition of the contents of the two tum- 
blers is now commanded to take place. The spectator 
removes the rubber band and handkerchief from the 
tumbler in his possession, and discovers the confetti 
therein instead of the borrowed articles; while the 
performer's glass now contains the borrowed watch 
and handkerchief in place of the confetti. Everything 
may be freely examined. 

EXPLANATION: The aforesaid principle u 
based upon a novel manipulation of the tumblers. 
Naturalness of manner and neatness of manipulation 



The Magic Art . 37 

are the main requirements in presentation. The 
necessary requisites and preparation are as follows: 

Four plain tumblers, of the tapering variety. 1 
use a tumbler measuring three and three-quarters 
inches high, two and one-quarter inches in diameter 
at the mouth, and one and one-quarter inches in di- 
ameter at bottom, which is ample for drawing-room 
use, and a size easily manipulated. Two of these tum- 
blers nested stack only one inch higher than a single 
glass. This fact-should be duly noted, as it enters into 
the success of the trick. 

Two mercerized silk handkerchiefs, at least 
twelve or fourteen inches square. These should be 
on the order of the fancy silk handkerchiefs much used 
today. For the present purpose, it is just as well to 
have them different in color, say one red and one blue. 
The main thing is to have them fairly opaque. 

A small box filled with vari-colored crepe confetti. 
A "tall" cigar box will answer the purpose. I for- 
merly used bran for the trick, but the brightly colored 
crepe confetti, obtainable in tubes and now much used 
for weddings, etc., is not only more attractive in ap- 
pearance, but is cleaner to handle than the bran. 

The Black Art table with two open wells, as al- 
ready described. 

Now, if you have obtained a tumbler of the pat- 
tern and dimensions above given, you will find that, 
if placed in the smaller well in the table top, the top 
of the tumbler protrudes to the extent of about one 
inch above the surface of the talale. 

One of the tumblers is beforehand filled with con- 
fetti, and placed in the small well at performer's right 
as he stands behind the table, and one of the silk 



38 



The Magic Art 



handkerchiefs laid carelessly in front of it, with one 
side of the silk drawn over the mouth of the tumbler, 
so that both handkerchief and glass may be picked 
up together. 

The box of confetti is placed at the other end of 
the table, with the three remaining tumblers and silk 
handkerchief neatly arranged in front of it. 

The trick is now ready for presentation. The 
performer asks the loan of a lady's watch, and to 
insure its safety while in his hands likewise borrows 
a handkerchief in which to wrap it. Returning to the 
table with the borrowed articles held well up to pre- 
vent the idea of substitution, one of the tumblers is 
taken in the left hand, while the right spreads the 



• 


fc 


. m . 



Fig. 2 
borrowed handkerchief over it, and pushes the watch, 
as well as the handkerchief, in this manner, into the 
glass. 



The Magic Art 



39 



This leaves the corners of the handkerchief pro- 
truding at top. They should be tucked in a little, just 
so they come flush with the brim of the tumbler. This 
arrangement is essential to later developments. The 
left hand now places the glass on the table, just in 
front of the large well, while the right picks up "the 
silk handkerchief at that end of the table, at the same 
time nipping through the fabric, between thumb and 




Fig. 3 
forefinger, the brim of the concealed tumbler of con- 
fetti in the small well. It is to be understood that the 
glass is seized with the thumb inside and forefinger 



40 The Magic Art 

outside the front edge, the back of the hand being pre- 
sented to the audience; and if held with the fingers 
extended against the handkerchief in a perfectly nat- 
ural manner, the presence of the tumbler behind the 
handkerchief is not suspected. (See Figs. 2 and 3, 
front and back views, respectively.) 

Now the left hand is holding the visible tumbler, 
containing the borrowed articles, just in front of the 
larger well, with the ball of the wrist almost touch- 
ing the table. The right hand draws the handker- 
chief over the glass, but the instant the latter is 
shielded by the silk, the left hand permits the glass 
to slip into the well, and seizes the concealed tumbler 
of confetti under the handkerchief, which is now 
lifted, still covered, from the table, and the handker- 
chief drawn completely around it. A rubber band is 
passed over handkerchief and glass to make matters 
doubly safe from deception, and the parcel placed in 
the keeping of a spectator, with the request to hold 
it at arm's length, to prevent possible injury to the 
lady's time-piece. This prevents any desire on his 
part to "peep." 

Now, from the standpoint of the company, the 
borrowed watch and handkerchief have been disposed' 
of in a manner prohibiting any tampering on the 
part of the conjurer. His every move has been per- 
fectly natural and above board, neither the watch, 
handkerchief nor glass being removed from! sight for 
n single instant until covered with the silk, when they 
are immediately brought forward, so covered, and 
placed in the keeping of the spectator. 

The performer next offers for inspection the box 
of confetti, from which he fills one of the remaining 



The Magic Art 41 

tumblers on the table. Taking the tumbler of con- 
fetti in one hand, and the last remaining tumbler in 
the other, he pours the confetti from one glass into the 
other several times, to impress upon the minds of 
those present that no deception enters into the pro- 
ceeding. He then places the tumbler of confetti on 
the table, in front of the large well, as before, setting 
the empty glass to one side. 

Now comes the novel part of the operation. The 
remaining silk handkerchief is shown freely on both 
sides, and then spread over the tumbler of confetti. 
The upper corners are permitted to fall in back, the 
left hand following to the table, and as the right hand 
seizes the top of the glass, through the silk, the left 
hand, under this cover, is lowered into the well, and 
brings up the tumbler containing the borrowed watch 
and handkerchief, nipped by the brim between the 
first and second fingers. As soon as the glass clears 
the well, the thumb supports it on the opposite side. 
Meanwhile, the right hand lifts the tumbler of con- 
fetti from the table ; the left brings the other tumbler 
under the folds of the handkerchief (Fig. 4), and the 
tumbler of confetti is permitted to settle gently into 
the lower glass, the arrangement of the borrowed 
handkerchief in this latter tumbler preventing any 
"chink" of the tumblers in coming together. The left 
hand should force the lower glass firmly over the upper 
one, to reduce the height of the two to a minimum. 
The covered "tumbler" is then left on the palm of the 
left hand. 

It will be found in actual practice that the closest 
observer will entertain no doubt in his mind as to the 
fairness of the proceeding up to this point. As far 



42 



The Magic Art 



as substitution is concerned, the tumbler of confetti 
has obviously been covered with the handkerchief and 
lifted from the table ; and as substitution is the sole 
source of suspicion in the mind of the average specta- 
tor, he has not the remotest idea of a duplicate tum- 
bler being smuggled into the folds of the handkerchief 
covering the confetti. 




Fig. 4 
The conjurer now calls attention to what has so 
far taken place: the borrowed watch and handker- 
chieif deposited in the glass now held by the spectator ; 
while the confetti is in his own possession. That, by 
the mere pronouncing of his mystic formula, the con- 
tents of the two tumblers will instantly make an invis- 
ible transposition. 



The Magic Art 43 

The spectator removes the covering from his glass, 
and finds it filled with confetti. This having been 
determined, the performer, standing behind his table, 
likewise uncovers his own glass, disclosing the bor- 
rowed watch and handkerchief. In removing the silk 
covering, the uppermost glass (which contains con- 
fetti) is nipped, as before, by the brim between thumb 
and forefinger through the fabric. While all eyes are 
drawn to the disclosure of the watch and handkerchief 
in the (lower) tumbler, the right hand is carelessly 
lowered to the table, and places tlie silk thereon, per- 
mitting the concealed tumbler of confetti to slide into 
the large well, and the trick is done. The tumbler is 
immediately brought . forward to the owner of the 
watch and handkerchief, who identifies her property. 
Of course, all the visible properties may be examined 
as much as the company pleases without offering a 
clue to the modus operandi. 

The Egg and Handkerchief 

Here w'e have a modification of the principle laid 
down in the preceding paragraph. As a practical 
example of its many uses to the conjurer, I shall give 
my own original version of Colonel Stodare's old-time 
"Egg and Handkerchief Trick," but since my first 
description of it in "Some Modern Conjuring," I have 
improved it to some extent, and I can recommend the 
later version as a very good "sucker" trick. It is the 
only Egg and Handkerchief Trick I have ever met 
with in which all the visible properties made use of 
may be freely examined "before and after." 

The effect is this: A raw egg, a small tumbler, 
and a colored silk handkerchief are offered for exam- 



44 The Magic Art 

ination, after which the egg is deposited in the tum- 
bler, and the latter covered with the handkerchief. To 
make doubly secure, a rubber band is passed over the 
glass, which is left in view upon the table. A small 
green silk handkerchief is next examined, which is 
subsequently transformed into the egg in the con- 
jurer's hands; and upon uncovering the tumbler the 
green silk is found therein, instead of the egg. 

Now comes the "sucker" feature. When the con- 
jurer rubs the green silk between his hands, and trans- 
forms it into the egg, he places the latter on the table. 
Uncovering the glass, he reveals the green silk therein. 
At this point. he overhears (or pretends to overhear) 
whispered remarks directed at the egg reposing on the 
table. "Some of you," says the performer, "I can see 
are looking with suspicion upon that egg. Just why 
this is being done, I can not imagine; but a lady just 
remarked (it was only said in a whisper, but I heard 
it) that the egg isn't real." The performer carelessly 
picks up the egg from the table, and examines it with 
a critical eye. "So far as I can see, it's a perfectly 
good egg. May I ask what is wrong with it?" Some- 
body is pretty sure to nibble at the bait thus offered, 
and, desiring to show their knowledge of conjuring, 
offer the statement that the egg contains "the hand, 
kerchief." If no such statement is made, the con- 
jurer, by adroit handling, causes it to be made. "Oh, 
you think the handkerchief is in the egg? I can not 
possibly see how you arrive at such a conclusion, when 
the green silk is right here on the table before your 
eyes." 

The longer the entertainer talks, the more con- 
vinced will his auditors become that he is "stalling," 



The Magic Art 45 

and that is just what he is striving to lead them to be- 
lieve. Nothing short of an examination of the egg 
will convince them now. Finally, and with some re- 
luctance, the performer comes forward with the egg. 
He shows it all around, then taps it with his wand and 
requests the most argumentative spectator to examine 
the contents. When this knowing person reaches into 
the egg shell, he brings forth not a green silk, but one 
of a bright orange-color, which has never figured in 
the trick at all, of course. The conjurer bows, and 
smilingly retires. 

To prepare for the trick, the performer selects two 
raw eggs as near alike as possible in appearance. One 
of these he empties of its contents by making a half 
inch opening with a sharp penknife in the broad end, 
after which the shell is carefully rinsed out and dried. 
An orange-colored silk is then packed into the shell, 
and the opening covered over with a disc of white ad- 
hesive paper. This egg is placed in performer's right 
hand trousers' pocket. 

The other requisites for the trick are as under: 

The duplicate raw egg. 

Two small tumblers, of the type already referred 
to. 

A large colored mercerized handkerchief. 

Two small green silk handkerchiefs. 

A "handkerchief egg," celluloid preferred. 

A Black Art table, having a large and a small 
open well, as already described. 

A rubber band and a wand. 

Place, beforehand, one of the green silks in one 
of the tumblers in such manner that the silk just fills 



46 The Magic Art 

the glass. This tumbler is deposited in the large well 
of the table. The handkerchief egg is vested or pock- 
eted. The remaining egg, tumbler, green silk, mer- 
cerized handkerchief, rubber band and wand are ar- 
ranged in view upon the table. 

Having introduced the visible properties to the 
attention of the audience, the conjurer returns them 
to the table, setting down the glass, into which the 
egg has been placed, just in front of the large well. 
The large handkerchief is now spread over the tumbler, 
the latter being seized through the covering by the 
right hand. Simultaneously the left hand secretly 
brings up the duplicate tumbler (containing the duph- 
cate green silk), and pushes it over the upper, original 
glass, under cover of the handkerchief, in same manner 
described in the foregoing trick ; the silk . in the lower 
glass being pushed to the bottom thereof, thus pre- 
venting any "talk." The two tumblers, appearing as . 
one under cover of the handkerchief, are placed in 
view upon the table, and the rubber band passed over 
same. 

Taking the green silk from the ■ table, the per- 
former takes up a position at some distance therefrom, 
secretly obtaining possession of the handkerchief egg 
from his vest or pocket, and by this means transforms 
the silk into the egg. The latter is then placed upon 
the table, just in front of the small well. The tum- 
bler is then uncovered, revealing the green silk therein. 
Of course, the upper glass, containing the egg, is re- 
moved with the covering handkerchief in manner now 
familiar to the reader, and dropped in the large well of 
the table in the act of laying down the handkerchief; 
while the (lower) glass is exhibited with the green 



The Magic Art 47 

silk, and, with the mercerized handkerchief, may be 
passed for examination. 

The fact that the silk and glass are brought for. 
ward, but not the egg, will generally afford the per- 
former the opening he is looking for at this point in 
his operations, and while he is making the inquiries 
recorded above, he carelessly inseits his hand in his 
trousers' pocket and palms the prepared egg. When 
matters reach the stage where he apparently picks 
up the egg from the table, what he really does is to 
bring his hand, in which the egg is palmed, across the 
table in front of the handkerchief egg resting in front 
of the Black Art well. The handkerchief egg is there- 
fore swept into the well, and the palmed egg elevated 
to the finger tips, the illusion being perfect. In due 
time the performer taps the small end of the egg with 
his wand, and permits the spectator to extract the 
orange-colored silk therefrom. The contrast in the 
colors of the two handkerchiefs will be brought out 
to better advantage if the performer, during his argu- 
ment with his auditors, picks up the green silk and 
draws it over his left forearm, where it remains until 
the trick is brought to a conclusion. 

The Flying Glass, Watch and Flag 

This, I venture to say, is a decided improvement 
upon the little trick described by Professor Hoffmann 
in "More Magic," page 364, under the title of "The 
Flying Glass, Watch and Handkerchief." It will be 
remembered that in the version there set forth the 
watch, handkerchief and glass were first deposited 
in a borrowed hat, but, under some pretext, were re- 
moved (exchanged) , and the three articles then passed 



48 The Magic Art 

invisibly into the hat at a distance. In my own ver- 
sion of the trick, the three articles do not, from the 
viewpoint of the company, approach the hat until they 
have been "passed" into it by. so-called magical means. 

Effect: A lady's borrowed watch is wrapped 
in a small silk American flag, and both deposited in 
a tumbler. A borrowed hat is placed upon a side 
stand at a distance. The watch now vanishes from 
the flag in the tumbler; the flag melts away in the 
conjurer's hands; and the tumbler shares the fate of 
watch and flag. All three articles are then taken, one 
after the other, from the hat. 

The arrangement is similar to the "Watch, Hand- 
kerchief and Confetti Trick." The requisites follow: 

Two small tumblers. 

Two small silk American flags. 

A large, double, mercerized handkerchief, prefer- 
ably colored, containing a ring for vanishing a 
tumbler. 

A hand box vanisher. 

Black Art table, provided with large and small 
well. 

A side stand on performer's left. 

Beforehand, one of the flags is placed in one of 
the tumblers, which is deposited in the small well of 
the table. The mercerized handkerchief is spread 
over the protruding top of the tumbler, as already 
explained. 

The hand box is hooked on the table drape at per- 
former's right hand rear corner of table. 

The conjurer begins operations by borrowing a 
lady's watch and a gentleman's hat, the latter being 
placed, mouth downward, on the left end of the table. 



The Magic Art 49 

The watch is then fairly wrapped in the flag, and a 
spectator permitted to satisfy himself that the watch 
is so wrapped; after which the flag parcel is placed 
in the tumbler, and the latter covered with the large 
handkerchief. That is to say, the tumbler is placed 
just in front of the large well on the table, and the 
concealed tumbler is drawn from the small well in the 
act of picking up the handkerchief; and under cover 
of spreading the handkerchief over the visible glass 
the latter is dropped into the large well, the procedure 
up to this point being identical with the "Watch, Hand- 
kerchief, and Confetti." The performer, holding the 
covered (substitute) tumbler in right hand, takes a 
step or two away from the table, then suddenly recalls 
himself. Perhaps the company suspect some decep- 
tion in the covering of the glass. As he would not 
deceive them for the world, etc., he will gladly remove 
the handkerchief and dispense with its services, which 
he does accordingly. As this substitute tumbler con- 
tains a flag, the company are led to believe that the 
watch is likewise contained therein, and do not sus- 
pect an exchange at this stage of the trick. The 
handkerchief is thrown on the table, the tumbler be- 
ing retained in the right hand, while the left reaches 
for the hat. He states, "Since you suspect the turn-; 
bier perhaps you likewise suspect the hat. You will 
observe it is quite empty." He shows the interior of 
the hat, then replaces it mouth downward upon the 
table, this time in front of the large well, with its side 
to the company. This brings the left hand behind 
the hat. He continues, "I will place the tumbler, con- 
taining the watch and flag, here in plain view of all 
upon the table; and the hat — ^this little stand is just 



50 The Magic Aet 

the place for it." During the momentary hesitation, 
as if seeking a suitable location for the hat, the first 
and second fingers of the left hand, under cover of the 
hat, reach into the well and seize the rim of the orig- 
inal tumbler (containing the watch and flag). The 
hat is then lifted by the brim between the thumb and 
forefinger- of same hand, when the mere act of raising 
it loads in the tumbler; and the hat is carried to the 
side stand and placed thereon, mouth upward. 

Returning to the table, he decides to pass the 
three articles — watch, flag, and glass, — into the hat, 
by the invisible process of mystic transmigration. To 
make the process still more difficult, he will under- 
take to pass the articles singly instead of together. 
First the watch. He taps the glass with his wand, im- 
mediately shaking out the flag, and thus proving, ac- 
cording to conjurers' logic, that the watch has just 
made an invisible flight from the glass into the hat. 
At the same time the opposite hand rests for an 
instant at the rear table edge, and palms the hand 
box. The hands are now brought together, and the 
flag duly vanishes. Only the tumbler remains. This 
follows the flag by means of the double handkerchief, 
the tumbler being dropped into the well just vacated 
by the other glass ; the performer moving away from 
the table with the handkerchief distended by means of 
the ring therein, and after suitable "hanky panky" 
draws the handkerchief through his hands, proving 
the evanishment of the tumbler. 

It only remains to remove the original glass, flag, 
and watch, one after the other, from the hat. 

It will be noted that the above method possesses 
the advantage over the other version referred to in 



The Magic Art 51 

that the tumbler containing the flag and watch are 
apparently not removed from sight, or, at any rate, 
do not approach the hat, until the latter has been dis- 
posed of on the side stand. 

How Many Goldfish? 
This very clever trick demands just a little 
"nerve" to carry through successfully, but if the opera- 
tions described below are carefully studied, no dif- 
ficulty will be encountered. I wish I knew beyond 
question who the originator of this ingenious arrange- 
ment really is, so that due credit could be given. 

There are several methods by which the trick 
may be accomplished, but I include it here as the 
system of tumbler manipulation now under consider- 
ation greatly simplifies the working of this particular 
trick. It is most effective when introduced immedi- 
ately following the Aerial Fishing Trick, or any other 
effect in which goldfish have figured. 

The effect is this: Having finished, say, the 
Aerial Fishing, and acknowledged his applause, the 
performer remarks, "You seem to have a fancy for 
goldfish. How many more would you like?" While 
he is speaking, he fills a small glass about two-thirds 
full .of water, and, throwing a handkerchief over the 
glass, walks into the audience with it. A spectator 
suggests, say, "five," whereupon the performer sim- 
ulates the action of catching five goldfish in the air 
.and passing them, invisibly, into the cove ed glass. 
Upon removing the handkerchief from the glass of 
water, exactly five small goldfish are revealed swim- 
ming therein, or whatever number of fish was called 
for. The effect is nothing short of marvelous. 



52 The Magic Art 

The requisites are very simple: Two tumblers, 
seven small goldfish, and a pocket handkerchief. Be- 
forehand, one of the tumblers is filled two-thirds full 
of water, and the seven goldfish placed therein. This 
glass is deposited in the small well near the front of 
the Black Art table, and the pocket handkerchief ar- 
ranged over it to conceal the protruding top of the 
glass. The empty glass and a small pitcher of water 
are in view on same table. 

When the conjurer inquires how many goldfish 
the audience would like him to produce, he places the 
empty glass in front of the large well in table top, 
and covers it with the handkerchief. But, combining 
business with pleasure, he lifts the concealed tumbler 
of goldfish with the handkerchief, and as the latter 
shields the glass of water the tumblers are substituted 
in manner now familiar to the reader, the glass of 
water being permitted to slide into the large well of 
the table, while the glass containing the goldfish is 
wrapped in the handkerchief instead, and brought 
forward so covered. 

The performer states his intention of magically 
producing "any number of goldfish desired." But 
the audience must be reasonable, — any small number, 
up to eight or ten. 

Now it is a fact well known among conjurers 
that, given a range of numbers up to ten, the choice 
will invariably fall upon the number seven, and that 
is just what the performer requires in the present 
trick. Assuming that No. 7 is named, the performer 
simulates the actJon of catching seven goldfish in 
the air and passing them, invisibly, into the covered 



The Magic Art 53 

glass; after which the handkerchief is removed and 
a spectator invited to verify the count. 

But, says the astute reader, how is the conjurer 
to escape from his predicament if No. 7 is not the 
number chosen? 

If, for instance, a small number, such as three or 
four, is called, the performer is pretty safe in asking 
a second spectator to "add a few" to the first specta- 
tor's choice. 

On the other hand, if the number called for is 
six, he repeats, "six," and turning to a lady at his 
side, remarks, "and shall I send one along for you? 
Very good; that will make seven." 

As a rule, however, when the conjurer calls for 
the choice of a number up to eight or ten, he will re- 
ceive several responses, and No. 7 is pretty sure to be 
among them. 

It will be found a good plan, until the performer 
has gained the necessary confidence in presenting the 
trick, to have a confederate at the back of the room 
or theater, who calls out the additional number re- 
quired to make up the total of seven, if necessary. 

Where the performer is hot provided with a 
Black Art table" suited to the secret exchange of tum- 
blers described above, the following method may be 
employed: 

Beforehand, a small tumbler is filled with water 
and the seven goldfish, after which a rubber cover 
is placed over the rim of the glass, and the latter 
placed in the lower vest pocket. 

The conjurer, as before, fills the duplicate glass 
with water, and covers it with the handkerchief, which, 
in this case, is the well-known double handkerchief 



54 The Magic Art 

provided with a ring of the diameter of the tumblers. 
Seizing this ring through the handkerchief, he appar- 
ently lifts the glass of water from the table, but 
secretly slips the glass into a Black Art well, or lowers 
it onto a shelf servante with the opposite hand. As he 
walks forward, apparently witli the glass under the 
handkerchief, he holds the latter against his body, 
when it becomes an easy matter for the right hand, 
placed under the handkerchief for the purpose, appar- 
ently, of steadying the glass^ to steal the duplicate 
glass of water and goldfish, from the vest pocket, and 
insert it under the ring. The trick then proceeds as 
above described, the performer, in removing the hand- 
kerchief from the glass, secretly slipping the rubber 
cover and placing both handkerchief and cover in his 
pocket, out of the way. 

The resourceful conjurer will find many good 
uses for the principles involved in this novel trick. 
Naturally, the effect is not confined solely to the mag- 
ical production of a given number of goldfish, but is 
equally adapted to silk handkerchiefs, cigars, cigar- 
ettes, coins, and, in fact, any objects of suitable size. 

The above effects are given as practical examples 
of the many good uses to which this novel tumbler 
manipulation may be applied. By certain modifica- 
tions of the principles laid dov/n, it is adapted to pro. 
duction, multiplication, transformation, or envanish- 
ment in the tumblers. 

Holmes' Tumbler Manipulation on a Chair 
This is the same system of tumbler manipulation 
outlined in the foregoing pages, but performed by the 
aid of a chair instead of a table. I have reserved 



The Magic Art 



55 




56 The Magic Art 

mention of it until now, in order not to confuse the 
reader in making him familiar with the cardinal prin- 
ciples of the system. 

In many cases the entertainer's arrangement of 
tricks will not permit him to employ his Black Art 
table for the manipulation of the tumblers, but he can 
still include the latter by the aid of a chair, and with 
quite as good effect. 

In this case, a special servante is employed, its 
particular type and method of use being depicted in 
Fig. 5. Note that the servante is one of the bag af- 
fairs, a metal ring, for supporting the duplicate tum- 
bler, being affixed at the upper edge of the servante 
frame in the right hand corner. The chair is pro- 
vided with a cover of black sateen or velvet, in order 
to render the back opaque, and the servante is hooked 
to this cover by means of strong safety-pins, so that 
its upper edge is close to the top of the chair back, 
as shown in the illustration. 

With the duplicate concealed tumbler resting in 
the ring of servante, a handkerchief is draped in a 
careless fashion over the chair back, and partially 
covering the brim of the tumbler; the arrangement 
being similar to that employed in the case of the Black 
Art table, as already outlined. 

A second tumbler, together with other proper- 
ties employed in the trick, is placed on the seat of 
the same chair. When the performer is about to 
make the exchange, he picks up this tumbler from the 
chair seat, and steps directly behind the chair. Hold- 
ing the glass in view, in his left hand, he seizes the 
handkerchief with his right, and apparently covers 
the tumbler. Of course, in this operation the dupli- 



The Magic Art 



57 



cate glass is brought up with the handkerchief, and 
under cover of the latter the first glass is permitted 
to fall into the bag of the servante, and the duplicate 
is wrapped in the folds of the handkerchief instead. 

A Novel Exchange 
This is one of my latest additions to the system 
of tumbler manipulation now under consideration, 
and it involves a most subtle exchange by the aid of 
one tumbler only. It is adapted to the secret ex- 
change of the contents of the glass for another object 
similar in appearance or totally different in character. 




Fig. 6 

The Black Art table employed is the same as de- 
scribed in the foregoing pages, being provided with 
the two wells; but the glass is bottomless, and the 
size of an ordinary water tumbler. 

For the purpose of explanation, let us assume 



58 The Magic Art 

that the entertainer desires to place an egg openly 
into the tumbler, subsequently causing it to change 
into a lemon, under the usual cover of a handkerchief. 

The bottomless tumbler is beforehand placed just 
in front of the large well in table top. A lemon is 
prepared to the extent that a loop of stiff gut is at- 
tached to one end of the fruit, after which it is de- 
posited in the small well of the table, the gut loop 
protruding therefrom, and the usual handkerchief 
thrown over that corner of the table. (See Fig. 6.) 

The conjurer exhibits an egg in his left hand, and 
as he slides it into the glass on the table, his right 
hand seizes the middle of the handkerchief (together 
with the gut loop on the concealed lemon), and the 
handkerchief is drawn over the glass. Simultane- 
ously, the left hand seizes the glass and draws it back- 
ward over the large open well. The egg passes 
through the bottomless glass, into the trap beneath, 
while the lemon goes into the glass from above, and 
the handkerchief is draped over all. 

The same secret exchange, and quite as deceptive, 
may even be performed without the aid of the bot- 
tomless glass. In this case the egg is placed in front 
of the large well in table top. The conjurer, with his 
right hand, lifts the handkerchief from the table, seiz- 
ing the gut loop on the lemon at the same time, and 
as the handkerchief clears the table the left hand ap- 
parently picks up the egg. As a matter of fact, the 
egg is swept into the trap, the hand being held in the 
correct position to carry out the idea that it really 
holds it. The right hand brings the handkerchief over 
the left, permitting the lemon to fall therein, after 
which the fruit is completely wrapped up and exhib- 



The Magic Art 



59 



ited in manner shown in Fig. 7. If a good, firm 
lemon, the same size as the egg, has been selected for 
the trick, the spectators will be firmly convinced that 
the egg and nothing else has been wrapped in the hand- 
kerchief. 




Fig. 7 

Other objects can be exchanged in a similar man- 
ner, such as a parcel of silks for an egg first deposited 
in the glass. Or an egg, apparently taken off the 
table with the left hand, and wrapped in the handker- 



60 The Magic Aet 

chief, may be transformed into a small bouquet of 
flowers, etc. 

Holmes' Trick Glass Outfit 
This superb outfit of trick glasses includes cer- 
tain indispensable principles in trick glassware com- 
bined in one set, enabling the up-to-date conjurer to 
obtain, by such combination, many effects heretofore 
unthought of or possible to obtain from the dealers. 
The set consists of the following items: 

(a) A tall lemonade tumbler, simply but ele- 
gantly designed, and quite unprepared. 

(b) A bottomless lemon.ade tumbler, similar 
to the above in appearance. 

(c) A nickeled metal mirror insert, fitting 
either of the two glasses. 

(d) A celluloid insert, tunibler shaped, fitting 
inside either glass. 

(e) A confetti "feke," consisting of a tin shape, 
covered externally with brightly colored crepe con- 
fetti, open at the bottom and closed at top. This con. 
fetti feke slips easily into either glass, when the glass 
appears filled to the brim with loose confetti. The 
upper, closed end of the feke is concave for the accom- 
modation of a small quantity of loose confetti, and 
the edge extends over the brim of the glass, enabling 
the fingers to lift the feke out of the glass with ease. 

(f) A cylindrical metal tube or cover, finely 
nickeled, fitting loosely over either glass. 

The greatest value of such a combination rests 
in the fact that the accessories are all interchangeable, 
while the following standard trick glasses will be 
recognized as comprising its makeup : 



The Magic Art 61 

(b) The Bottomless Glass. 

(c) The Mirror Glass. 

(d) The Demon Glass. 

(e) The Confetti (or Bran) Glass. 

The general uses of the four standard trick glasses 
just mentioned are too well known to demand descrip- 
tion here. They are immensely popular with ama- 
teur conjurers, and justly so, for they offer a wide 
range of effects not evien obtainable with other so- 
called general utility apparatus. So I shall confine 
myself to the interesting possibilities afforded by the 
interchangeable feature of the various accessories 
when combined in the one set. 

The Bottomless Mirror Glass 

Here we have a combination of two trick glasses 
that are probably most universally employed in con- 
juring. By the aid of such a combination, several 
very novel effects are possible. For instance, the vis- 
ible vanish of a silk handkerchief from the glass. 

Beforehand, a long black silk thread is attached 
to one corner of, say, a green silk, and the latter is 
then tucked into one side of the bottomless mirror 
glass. The thread passes through the bottom opening 
of the glass, thence through a hole in the tafcle top. 
and on down through the shaft of the table base, 
thence off stage. The glass is placed upon the table 
with its empty compartment turned to the front, so 
that the glass appears empty. During the course of 
his entertainment, the performer makes use of a dupli- 
cate green silk, and finally pushes it well down in the 
glass upon the table ; i. e., into the front compartment. 
Both sides of the mirror glass now contain green silks, 
so that the glass can be handled pretty freely without 



62 The Magic Art 

giving anything away, and taking advantage of this 
arrangement, the entertainer gives the glass a half 
turn, bringing the threaded silk to the front. It is 
needless to remark that a little slack thread should be 
left between the glass and the table top. When the 
half turn is given to the glass, the latter is left, with 
the front compartment directly over the opening to the 
table shaft. 

The performer now retires at a distance from the 
table, and clapping his hands, cries, "Go!" The as- 
sistant, who has meanwhile taken up the slack, jerks 
the thread, causing the silk in the front compartment 
of the glass to disappear with lightning-like rapidity. 

The glass is now free from any connection with 
the table, and can be placed aside. 

The Bottomless Demon Glass 

The following effective combination involves the 
use of both glasses in the trick glass outfit. In this 
case the metal mirror insert is used in the glass with 
bottom, while the celluloid insert of the demon glass 
is used in the bottomless glass. 

Beforehand, one compartment of the mirror glass 
is filled with confetti, and this side of the glass turned 
to the rear. In the front compartment of the glass 
is tucked a silk handkerchief. 

A handkerchief pedestal is loaded with a duplicate 
handkerchief, and is placed in readiness upon the 
table, together with the two glasses, a tall paper tube, 
and a small box containing confetti. 

The conjurer begins operations by filling the 
bottomless demon glass with confetti, pouring the lat- 
ter openly from the box into the insert in the glass; 
after which the glass of confetti is isolated upon the 



The Magic Art 63 

pedestal, and the paper tube slipped over it. In mov- 
ing the pedestal slightly forward, the piston is lifted, 
projecting the duplicate handkerchief into the bot- 
tomless glass, which operation also serves to lift the 
celluloid container of confetti to the extent of an inch 
or so in the glass. This fact must be borne in mind 
in determining the height of the paper tube with which 
the glass is covered. 

The performer now draws the handkerchief from 
the mirror glass, and spreads a large pocket handker- 
chief over the apparently empty glass. The silk is 
rolled smaller and smaller between the palms, until 
it vanishps altogether. Lifting the tube on the ped- 
estal, the fingers at the same time seize and carry 
away therein the celluloid container of confetti, the 
latter being permitted to slip from the tube into a 
bag servante as the hand is lowered behind the table. 
The duplicate silk is thus revealed in the glass on 
the pedestal, while the missing confetti is discovered 
in the (mirror) glass. 

The above use of the bottomless demon glass on 
the handkerchief pedestal is an arrangement of Mr. 
Victor D. Barbour's, a very enthusiastic devotee of 
magic. 

The Bottomless Confetti Glass 

The confetti feke fits either the bottomless or ^he 
unprepared glass of the set. Its use with the unpre- 
pared glass, like the old-time Bran Glass, is too well 
known to warrant description ; but its application to 
the bottomless glass seems to have been generally over- 
looked by conjureis, although such a combination of 
two well-known principles offers some very fine ef- 
fects not otherwise obtainable. 



64 The Magic Art 

For instance, in Professor Hoffmann's "Modern 
Magic" is described the trick of passing several bor- 
rowed rings into a glass previously filled with bran, 
the bran passing to some other quarter. This old but 
popular trick can be made still more effective by em- 
ploying the bottomless Confetti Glass instead of the 
orthodox Bran Glass ; the glass, in this case, being ap- 
parently filled with the confetti before the rings are, 
borrowed. The conjurer has only to make the secret 
exchange of rings, retaining the borrowed rings 
in his left hand. After the substitute rings have been 
caused to disappear, he places the confetti glass (which 
is covered with a bottomless paper bag) on the palm 
of his left hand, that is to say, the bottomless glass 
over the borrowed rings; the paper covering is lifted 
from the tumbler, together with the confetti feke, and 
the glass immediately given a shake, revealing the 
borrowed rings therein instead of the confetti, which 
may be reproduced according to the magician's fancy. 

In the trick next following a still more ingenious 
use of the bottomless confetti glass is explained. 

The Mystic Handkerchief and Tumbler of 
Confetti 
Of the many combinations possible with the trick 
glass outfit, none are m.ore effective, or possess greater 
real magical principles, than this mystifying little 
trick. A similar experiment has been described by 
Professor Hoffmann in his "Later Magic," under the 
title, "A Handkerchief Transformed Into Paper Shav- 
ings," but the version here given (my own) possesses 
several additions which I believe may be claimed as 
an improvement. It was for just such combinations 
as this that I originally designed the trick glass outfit. 



The Magic Art 65 

The effect of the trick is as follows : A blue silk 
handkerchief is inserted into an empty paper cylinder, 
which is placed upright on the table. A piece of paper 
is formed into a small tube, the ends of which are 
twisted up and the tube placed in the keeping of a 
spectator. A box of confetti and a tumbler are next 
inspected, and the tumbler filled with the confetti and 
covered with a handkerchief. A change now takes 
place, the tumbler of confetti vanishing from the hand- 
kerchief, and reappearing under the paper cylinder; 
the blue handkerchief passing from the latter into the 
small paper tube held by the spectator. The conjurer 
now replaces the paper cylinder over the tumbler of 
confetti. The blue silk is caused to vanish, and reap- 
pears in the tumbler, the confetti returning invisibly 
to the box, according to the magician's statement. 

So much for the effect of the trick. The requi- 
sites and preliminary arrangements are as follows: 

A plain paper cylinder, eight inches long, and of 
such diameter as to pass freely over the tumbler. 

Two blue silk handkerchiefs, of like size. In the 
center of one of these is stitched (by means of a little 
patch of silk) a; disc of lead, an ounce or a little more 
in weight. 

A piece of plain paper, 8x10 inches. 

A handkerchief wand, with removable plug and 
hook. 

Two lemonade tumblers of like appearance, one 
bottomless, the other unprepared. 

The confetti "feke," which for the purpose of the 
present trick is used in the bottomless glass. 

A double handkerchief ,. .with a ring of the diam- 



66 



The Magic Art 




Fig. 8 



The Magic Art 67 

eter of the tumblers inserted therein, in manner famil-'* 
iar to most magicians. 

A small box, partly filled with confetti. The 
only specialty about this box is that it must be an 
inch greater in depth than that of the tumblers. 

These various articles are beforehand arranged 
thus (See Fig. 8) : 

Upon the table, the box of confetti, with the un- 
prepared tumbler in front of it. Behind the box is 
concealed the bottomless tumbler, containing the con- 
fetti feke. At the other end of the table are placed 
the paper cylinder, sheet of paper, and blue handker- 
chief provided with leaden weight. 

The duplicate blue silk is loaded into the hand- 
kerchief wand and its middle portion attached to the 
hook on the plug, and the wand placed upon the table 
between the box and paper cylinder. 

The double handkerchief is thrown over a chair 
back. 

The table should be provided with a bag servante. 

The various operations involved in presentation 
are set forth in the following paragraphs. 

The paper cylinder and blue silk handkerchief 
are first introduced. The performer then steps be- 
hind the table, placing the cylinder thereon behind 
the box of confetti, and at the same time slipping it 
over the bottomless confetti glass. -Just as he lowers 
the cylinder over the concealed tumbler, he tucks the 
handkerchief partially in at the top of it, apparently 
to keep the silk in view of those present. 

Having thus concealed the confetti glass, he is 
now free to bring forward the box of confetti and thfe 



68 The Magic Aet 

'unprepared tumbler for examination. A boy is re- 
quested to fill the glass with confetti from the box, 
and while he is performing the operation the con- 
jurer obtains the small piece of paper from the table, 
and forms it into a tube by the aid of the wand, there- 
by leaving the duplicate blue silk hidden in the tube; 
after which the ends of the parcel are twisted up, and 
it is placed in the keeping of the boy, who has by this 
time filled the glass with confetti. To prevent any 
inclination to peep at the contents of the parcel, the 
performer requests his volunteer assistant to hold the 
tube at arm's length above his head. 

The conjurer carries the glass of confetti and 
box to his table. He removes the blue silk from the 
top of the paper cylinder and crumples it into a loost 
parcel, which he inserts at the lower end of the cylin- 
der. This move demands a little practice, for it is 
necessary to pick up the bottomless tumbler together 
with the cylinder, by pressure of the fingers at a 
point about even with the top of the concealed glass; 
and in pushing the silk into the cylinder it must be 
passed through the opening in the bottom of the tum- 
bler without disturbing the confetti feke contained 
therein. Hence the precaution of seizing the paper 
tube near the top, the fingers retaining the tumbler, 
as well as the confetti feke, in position. By tilting 
the top of the cylinder slightly toward the audience, 
the presence of the tumbler is not disclosed. The 
cylinder is then replaced upon the table. 

Next, the glass of confetti is covered with the 
double handkerchief, the latter first being shaken out 
in such manner as to bring the ring to the center, and 
therefore over the top of the glass. Bringing forward 



The Magic Aet 69 

the covered tumbler, the conjurer states his intention 
of passing it invisibly from the handkerchief to the 
paper cylinder, which at present holds the blue silk. 
He accordingly flips the handkerchief in the air, the 
tumbler and confetti vanishing on the instant. Of 
course, in the act of lifting the covered glass from the 
table, the performer has permitted the glass to drop 
into a Black Art well in the table top, or lowered it 
into the servante. Going over to the paper cylinder, 
he lifts it without pressure, revealing the bottomless 
tumbler thereunder, apparently filled with confetti, 
the f eke appearing precisely as the confetti in the other 
tumbler. 

The blue silk not being accounted for, the per- 
former requests the boy to open the paper tube, from 
which he extracts the missing handkerchief. 

In the second stage of the trick, the performer 
replaces the paper cylinder over the glass of confetti. 
Retiring at a distance from the table, he now causes 
the blue silk to vanish, either by the roll palm, or 
some mechanical appliance. He removes the cylinder 
from the tumbler, revealing the handkerchief therein, 
the confetti having passed "invisibly" back to the box. 
Needless to say, in the act of lifting the cylinder, the 
confetti feke is carried away therein by a slight pres- 
sure of the fingers upon its upper, pro.jecting edge, 
and while all eyes are centered upon the silk in the 
glass, the cylinder is lowered to the servante and the 
feke permitted to slide therein. It may make a little 
noise in falling, but this is concealed by quickly crush- 
ing the cylinder and tossing it into the audience in 
practically one and the same operation. 

The use of the leaden weight in one of the blue 



70 The Magic Art 

silks may not be quite clear to the reader. It will 
be found in actual practice that when the confetti 
feke is withdrawn from under the tumbler, under 
cover of the cylinder, that the silk handkerchief pre- 
viously pushed therein through the bottom of the glass 
is inclined to follow the feke, owing to its lightness. 
As it is most essential to the success of the trick that 
the handkerchief remain behind in the glass, the little 
weight is sewn in the center of the silk to obviate this 
risk of failure. Just before pushing the silk into the 
paper cylinder (and into the bottomless glass), it 
should be crumpled up a bit to insure good results 
later on. A trial or two will show the correct pro- 
cedure. 

Holmes' Crystal Jar Outfit 

This combination of trick glassware resembles 
the foregoing only in one or two respects. It was 
primarily designed by me as a large mirror jar to 
answer the requirements of many magicians who 
found the standard mirror glass too small for certain 
uses. From this beginning the Crystal Jar outfit has 
been evolved and, like the Trick Glass outfit, it offers 
many possibilities, especially in the way of combina- 
tion tricks. 

The outfit consists of the following items: 

(a) The Crystal Jar, consisting of a large, 
polygon-shaped glass jar, provided with a lid. 

(b) A nickeled metal mirror insert. 

(c) A half-round receptacle of transpa,rent cel- 
luloid, which may be inserted on one side of the mirror 
insert (b) when the latter is in the jar. 

(d) A confetti "feke" similar to (e) of the 
Trick Glass outfit, but fitting the Crystal Jar. 



The Magic Art 71 

(e) A large container of transparent celluloid, 
fitting easily inside of the confetti feke (d) . 

From this rather unusual collection of accessories 
we may obtain some very clever effects, as will be 
noted in the following paragraphs. 

The Crystal Mirror Jar 
When the nickeled metal mirror is inserted in the 
jar, we obtain a large mirror glass, adapted to many 
good uses in the way of changing, vanishing or caus- 
ing articles of suitable size to appear. 

Beforehand, the compartment on one side of the 
mirror insert may be filled with the flags of different 
nations, after which the jar is placed on the table 
with the flag side turned to the rear, so that the jar 
appears empty to those in front. In presenting the 
trick, a quantity of colored silk handkerchiefs, or con- 
fetti, may be placed openly into the apparently empty 
jar. If handkerchiefs of different colors are used, 
the jar needs no covering for the transformation, be- 
ing merely picked up and transferred to another table, 
when the necessary half-turn is made, bringing the 
flag compartment to the front, after which the flags 
are removed one after the other, and suitably dis- 
played about the room or stage. Jn the case of using 
confetti, the jar should be covered with a paper bag 
of suitable size for the purpose of securing the half- 
turn. 

One of the most clever uses of the mirror jar is 
in the vanishing or changing of such live stock as a 
white rat, a small dove, or a guinea pig. In this case 
the white rat, say, is first placed into a paper 'bag, 
which is then deposited in the Crystal Jar. Before- 
hand, you have placed in the rear compartment of the 



It 



I'HE Magic Art 




Fig. 9 
jar a duplicate paper bag, which may contain, say, a 
lemon, or merely left empty, in which case the bag 
should be partly inflated, and the top twisted up, to 



The Magic Art 



73 



resemble in general appearance the other bag when 
it contains the rat. After placing the rat in the bag 
in the jar, the glass lid is put on (Fig. 9), and the 
jar transferred to another table or chair, thus enabling 
the conjurer to make the necessary half turn of the 
apparatus. As the contents of both compartments 
are of like appearance, the deception in the turn of 
the jar is not observed; and upon removing the (dupli- 
cate) paper bag from the jar later on, the rat is found 
transformed into a lemon, or at least to have disap- 
peared. -This apparatus will be found of great use 
in tricks in which live stock is employed, or for bulky 
productions in which candy, flowers, flags, etc., are 
used. 




Fig. 10 
The Crystal Confetti Jar 
This portion of the outfit demands little expla- 
nation, the confetti feke (d) being employed with the 



74 



The Magic Aet 



jar in manner similar to the standard Bran Glass, with 
which all. conjurers are familiar. The transforma- 
tion of the supposed confetti to the true contents of 
the jar is effected by the aid of a large paper bag, 
under which cover the feke is secretly carried away 
and disposed of. 

The confetti jar is well adapted to the magical 
transformation of confetti into such bulky objects as 
a dove, rabbit, guinea pig, several white rats, or a 
quantity of candy, flowers, etc., this class of trans- 
formation tricks being very popular at children's par- 
ties and similar entertainments. 




Fig. 11 
Confetti to Water and Goldfish 
Under this paragraph I take pleasure in present- 
ing to my readers an entirely new idea in the way of 
a transformation of a commodity, such as bran or 
confetti, into a fluid element, such as water and gold- 



The Magic Art 75 

fish. But I must share the credit of the invention 
with Mr. Victor D. Barbour, of Toledo, Ohio, who 
wrote me of his arrangement soon after I had experi- 
mented with my own idea and perfected it. 

The secret is decidedly simple, and why such an 
obvious combination has not been hit upon in conjur- 
ing circles ere this it is difficult to understand. In 
addition to the crystal jar and confetti feke (d), the 
transparent celluloid container (e) is employed. This 
container fits very loosely into the jar, to permit of 
the confetti feke being slipped between the sides of 
the jar and the. celluloid container. 

Beforehand, the container is placed in the jar, 
after which the former is filled two-thirds full of wa- 
ter and several goldfish added. The confetti feke is 
then slipped into the jar and over the container, giv- 
ing the jar the appearance of being filled with con- 
fetti. A good handful of loose confetti is heaped on 
the top to carry out this impression, and in present- 
ing the trick the conjurer merely calls attention to the 
large jar filled with confetti upon the table, tossing 
off the loose confetti on the top as usual (Fig. 10). 
A large paper bag is now inverted over the jar, and 
the transformation effected by lifting out the feke 
under cover of the bag, revealing the water and gold- 
fish in the jar (Fig. 11). The fact that the celluloid 
container is somewhat smaller in diameter than the 
interior of the jar is never noticed from the front, 
especially if the performer takes pains to lift the jar 
from the table and permit the container to slide to 
the front therein. 



76 The Magic Art 

A Chinese Paradox 

This is an arrangement of my own for obtaining 
a so-called self-contained Wine-and- Water or Ink-and- 
Water Separation. The principles are not new, but 
the devices employed have . greatly simplified the 
trick. The effect is this: The entertainer calls at- 
tention to a large crystal jar, provided with a lid, and 
empty, standing upon the table. Upon either side of 
the jar is an Oriental-looking jar, known to conjurers 
as the Chinese water can, but in the present case the 
two water cans are finished with Oriental decorations. 
Seizing one of these water cans, the conjurer pours 
its contents — water — into the crystal jar; after which 
he twirls the inverted can upon his wand to prove that 
the can has been completely emptied of its contents. 
He then pours the contents of the second can— wine 
or ink — into the jar, thus mixing it with the water, 
after which the lid is placed on the jar, and the latter 
covered with a large covering cloth. Once more the 
Chinese water cans are demonstrated to be empty, 
after which they are placed on either side of the jar 
and a small square of plate glass rested over the top 
of each. A red ribbon may be looped from the cov- 
ered jar to one of the cans, and a white ribbon from 
the jar to the second can, to represent the liquids used, 
if desired. 

The conjurer next introduces five silk handker- 
chiefs (magically or otherwise) , and to carry out the 
Chinese setting of the experiment, these silks should 
be red, yellow, blue, white, and black, respectively, 
to represent the national colors of the Chinese Re- 
public. These five silks are grouped together in the 
hands, and gradually grow smaller and smaller under 



The Magic Art 77 

the artist's manipulation, until they disappear com- 
pletely; or, if the performer is at all skillful in silk 
manipulation, a prettier way is to effect the disap- 
pearance of the silks by ones and twos, thus impress, 
ing his audience with his cleverness. The silks hav- 
ing been disposed of, the performer draws aside the 
covering cloth from the crystal jar, revealing therein, 
in place of the mixture of wine and water, the miss- 
ing silks in the shape of a large silk flag of the Chinese 
Republic. The missing wine and water are discov- 
ered, completely separated, in the two cans, and are 
emptied back into the crystal jar; after which the 
conjurer seizes the flag and produces from its folds 
a bowl of water and goldfish. 

The mirror jar, with the half-round celluloid re- 
ceptacle (c) inserted in the front compartment, is 
employed for this pretty combination trick. The 
large Chinese flag is hidden behind the mirror parti- 
tion. The two Chinese water cans are filled with 
wine and water, respectively, sufficient liquid being 
used to fill both compartments of each can. 

When the performer empties the contents of the 
cans into the jar, he performs the operation with the 
partition in the can downward, so that really only 
one-half the contents escape, the rest remaining hid. 
den under the partition, thus enabling the performer 
-.to rattle his wand within the can, proving, according 
to conjurer's logic, that the can is empty. 

The covering cloth is now spread over the jar, 
the latter being given the necessary half -turn to bring 
the flag compartment to the front ; and the water cans 
are covered with the squares of plate glass, which 
are used merely for effect. 



78 The Magic Art 

The performer now introduces the five silk hand- 
kerchiefs, representing the national colors of China.. 
In the author's opinion, the magical production of the 
silks at this stage of the trick detracts, rather than 
strengthens, the effect. Combination tricks demand, 
of course, more or less preliminary detail before reach- 
ing -their climax, and the less detraction from the 
backbone of the plot the better the audience will fol- 
low arid appreciate the same. 

A good way is to arrange the five silks across 
the back of a chair in the order of red, yellow, blue, 
white, and black. The precise method for effecting 
their disappearance should depend upon the particular 
style of the act. If the magician is presenting a real 
Oriental act, wearing the Chinese robe, etc., the quick 
evanishment of all five handkerchiefs at one opera- 
tion is best, employing some such method as the De- 
mon Glass (see Trick Glass Outfit), the silks being 
drawn off the chair back, one after the other, and 
tucked into the glass after which the tube is slipped 
over the latter and when lifted the silks have van- 
ished. 

If, however, the entertainer is working in con- 
ventional evening dress, and presenting his experi- 
ments with patter, he may indulge in some clever ma- 
nipulation in effecting the disappearance of the hand- 
kerchiefs, as suggested above. For instance, turning 
back his sleeves, he may begin with the red silk, 
which is vanished by the "roll-palm." In drawing 
the yellow handkerchief next off the chair back, the 
palmed red silk is dropped in the chair servante. A 
little byplay may be introduced with the yellow, em- 
ploying the "finger tip" vanish, in which the conjurer 



The Magic Art 79 

apparently smuggles the silk into his pocket. Th*^ 
blue silk follows by the aid of a Stilwell ball obtained 
from the servante in lifting the silk. As the white 
and black silks "represent no color at all," the per- 
former vanishes them together, by the aid of a 
Bautier pull. 

The trick is now done. The covering cloth is 
lifted from the crystal jar, revealing the flag in place 
of the wine and water mixture. The cans are emptied 
of their contents back into the (front compartment of 
the) jar, the latter now appearing alike both sides 
of the mirror partition, having liquid in both compart, 
ments. The trick is brought to a conclusion by the 
production of the bowl of water and goldfish from the 
large flag. 



CHAPTER III 
TRtcKS — Original and Otherwise 

SO many requests have reached me for a series of ef- 
fective card experiments that can be performed 
"anywhere at any time," with any pack of cards, and 
with the minimum of skill, that I can not better open 
the present chapter than with a description of a "run" 
of card tricks which has been found highly satisfac- 
tory through the test of time. No claim for original- 
ity is made for any of them ; they demand rather more 
address thkn skill, and the effect is marvelous to the 
uninitiated. 

The cards employed are innocent of any prepara- 
tion, with the exception of the joker, on one end of 
which ^ is slipped a very small paper clip, forming a 
slight projection at this end of the card which is read- 
ily found by the sense of touch, but not easily noticed. 
This joker, therefore, serves as a "key" card when 
secretly added to the pack. 

In presenting even a short series of card experi- 
ments it will be found both convenient and rather 
more effective if the entertainer can have the use of 
a table, before which the spectators are gathered. 
When I take the cards from my pocket a few of them 
are already prearranged on the top of the pack. That 
is to say, I have previously taken thirteen cards, from 
an ace to a king, well mixed as to suits, and placed 
these thirteen cards on the top of the pack, the king 
being on the very top. On this king I place the joker 
provided with the little clip. I step to one end of the 
table and place the pack face down thereon, announc- 
ing a few simple experiments with a pack of cards. 



The Magic Art 81 

Just as the cards reach the table, I slip the joker off 
behind them. Nobody takes any notice of this move- 
ment, and if they did no importance would be attached 
to the elimination of the joker. 

I begin operations by subjecting the pack to a 
riffle shuffle. That is to say, I make a sort of a 
riffle shuffle, taking care that the top thirteen cards 
are not disarranged or removed from their present 
position. I then square up the pack and request some 
one to come to the table, and cut the cards into two 
about-equal portions. I keep the identity of the orig- 
inal top portion, and immediately pick up the other 
cards, handing them to the assisting party and re- 
questing he or she to secretly, while my own back 
is turned, count off on the packet of cards now on the 
table any desired number of cards. I say, "Any small 
numjber of cards, up to ten or twelve." When my re- 
quest is complied with, I turn around and relieve the 
party of the cards he still holds. I pick up the packet 
on the table and place it on top of the other cards. 
Thus my prearranged thirteen cards, with an un- 
known number of indifferent cards, are still on the 
top of the pack. 

I now proceed to deal the cards, one at a time 
and face down, in several rows of five or six cards 
each. For the purpose of my experiment I must 
deal at least fourteen cards off the pack, but it is 
better to use, say, eighteen in three rows of six cards 
each. As the card dealt at No. 14 is the key to the 
entire trick, it will now occupy the second position 
from the left in the bottom row. 

While I am laying out the cards, I inquire of a 
lady if she has ever been hypnotized; does she be- 



82 



The Magic Aet 




- Fig. 12 



The Magic Art 83 

lieve in the power of suggestion? Standing behind 
the table, I request this lady to comply with my in- 
structions quickly. I explain this by saying that I 
want to get the first thought that comes to her mind 
at my suggestion. I now request her to indicate one 
of the rows of cards upon the table. She may, or may 
not, choose the row that contains the fourteenth card 
dealt down ; but it should be borne in mind that while 
I have three horizontal rows of six cards eachj I also 
have six vertical rows of three cards each. Thus, if 
the lady replies, "The second row," I accept her choice 
to suit my own requirements, in this case the second 
vertical row counting from my left (See Fig. 12). I 
therefore eliminate all the cards on the table except 
those comprising the chosen row, placing the discard 
on the pack. Now the lady is requested to indicate 
any two cards of the three left upon the table. More 
than likely her choice will include the original "four- 
teenth" card, in which case I remove the one remain- 
ing. I place the two cards side by side, and ask the 
lady to place one hand upon each of them, taking care 
to see that her right hand rests upon the card I am 
about to reveal. I suddenly request her to "raise one 
hand," and it will invariably be her right. I ask the 
gentleman how many cards were secretly placed on 
the packet in the beginning of our experiment. If 
he replies, for instance, "seven," the card I now turn 
up is a seven spot (the suit is immaterial). 

In the elimination of the different rows and pairs 
of cards, it will be readily understood that, if in the 
first instance the lady had chosen a row which did 
not, figuring either horizontally or vertically, include 
the "fourteenth" card, I would have eliminated the 



84 The Magic Art 

indicated row, and requested the choice of another 
row, continuing the elimination, to meet my own re- 
quirements, until only the row containing the "four- 
teenth" card was left on the table. The s'ame rule ap- 
plies to the elimination of the pairs in the one row. 

I now assemble the cards, and hand them to a 
gentleman for thorough shuffling. The joker re- 
mains behind on the table. I request this person to 
have several spectators select cards from the shuffled 
pack while it is in his hands. When five cards have 
thus been taken, I relieve the gentlemen of the pack, 
and request the holders of the cards to show the latter 
to their neighbors, but not to permit me to see the 
faces of such cards. While I am speaking I step over 
to the table, as if to prevent my seeing the cards, and 
carelessly drop the pack, face down, on the joker. I 
immediately square up the pack on the table, and again 
bring it forward. As the table is very close to the 
spectators, nobody thinks anything about this latter 
movement on my part. 

I now collect the chosen cards on the top of the 
pack, and request some one to cut several times, thus 
apparently mixing the cards thoroughly. Then, as 
if to complete the operation, I cut the cards myself in 
an offhand manner, secretly cutting at the key card, 
which restores the chosen cards to their original po- 
sition on top of pack. 

At this point I state that I wish everyone to be 
satisfied that the cards are thoroughly mixed, and 
with that end in view I will complete the shuffle in 
a manner convincing to all. Standing behind the 
table, I proceed to lay the cards, a few at a time, in 
four separate heaps, until the pack runs out. As a 



The Magic Art 85 

matter of fact, I remove exactly four cards each time 
(without disturbing their order in any case), placing 
the first four at A, the next four at B, then at C and 
at D, until only four cards remain in my hand, and 
these are placed one on each packet in the order of 



C B 
D A 



A, B, C, D. The pack is now assembled by picking 
up the cards in A and placing B on top of A; then 
C on B, and finally D on C. 

Once more the cards are laid out on the table, 
but this time they are dealt rapidly into the four 
heaps. A, B, C and D, one card only being dealt suc- 
cessively on each heap. They are then assembled in 
the same order as before. 

These operations consume velry little time in 
actual practice, and if accompanied with suitable pat- 
ter the spectators are merely convinced that I have 
thoroughly mixed the cards. As a matter of fact, the 
chosen card first returned to the pack by spectator 
is now the fifth card from top of pack (cards held 
face down) ; the second card is the first, or top, card 
of pack; the third stands at No. 14; the fourth at No. 
27; the fifth at No. 40. To memorize the numbers, 
1, 14, 27, 40 and 5, is not a difficult undertaking, es- 
pecially when one bears in mind the fact that each is 
exactly thirteen points higher when counted in rota- 
tion from one up, with the exception of the last. 

Armed with this knowledge, it only remains to 



86 The Magic Art 

reveal the identity of the selected cards according to 
fancy. 

I therefore square up the pack, and, holding it to 
my ear, riffle the cards sharply with the thumb, i 
announce to the person who last returned his card 
to the pack that I get the number "40." I count 
thirty-nine cards face up on the table, and, turning 
up the fortieth, show it -to be his card. But while I 
am counting down these cards, I am combining busi- 
ness with pleasure, and secretly note the twenty- 
seventh card, as I pass it, for it will be the next card 
to reveal. 

Having turned up the first chosen card, I restore 
the pack to its original order, and reveal the next by 
"mind reading," merely naming it while holding the 
pack to my forehead, etc. The third chosen card I 
announce as occupying the fourteenth position in the 
pack, and while counting down to it, secretly note 
No. 5, which is named in due time. This leaves one 
chosen card not yet produced, and as this card reposes 
conveniently on the top of the pack, I am in a position 
to reveal it in some striking manner as an appro- 
priate finish to the experiment. My own favorite 
method is to give the cards a false shuffle at this point, 
in ;the following manner: First, the two top cards 
are passed into the, right hand,, after which the re- 
mainder of the pack is shuffled off on these two cards 
in parcels of twos and threes. This operation .leaves 
the selected card second from the bottom. 

Holding the pack with the bottom card facing 
the audience,, the spectator who selected the card I 
am about to reveal is asked, if he had the privilege of 
naming it, what number he would suggest for his 



The Magic Art 87 

card to appear at. Assuming that his answer is 
"five," I hold the pack face down in position for exe- 
cuting the sleight known as the "glide," and remove 
the bottom card, counting "one." As the right hand 
approaches to draw a second card off the bottom of 
pack, the bottom card is drawn back, and the card 
next above the chosen card is counted as "two;" and 
this operation is repeated until four cards (one less 
than the chosen number) are counted down on the 
table. The selected card is then permitted to square 
itself with the pack, and is removed as the fifth card, 
the chosen number. 

I continue, "I will show you one more experiment 
with the cards. It's really a very remarkable thing, 
because I frankly admit that I, myself, do not know 
how the result is brought about. Perhaps some of you 
can solve the problem." 

While a spectator is shuffling the pack, I pro- 
duce from my pocket a pair of small dice, which I 
request some one to throw several times, in order to 
satisfy my auditors that they are "all fair." The 
gentleman who is shuffling the cards retains pos- 
session of them. He is first requested to throw 
the dice on the table, while I turn away, and, taking 
the total number of spots uppermost on the dice, 
to count down to such number from the top of the 
pack, and note such card that stands at that num- 
ber, then replacing the cards in their original posi- 
tion. This being done, I take the pack and place 
it behind my back, saying, "A card has been chosen 
by the throw of the dice, and now stands at some 
number in the pack known only to this gentleman. 
Notwithstanding this, however, I shall cause the 



88 The Magic Art 

chosen card to appear at any number you may wish. 
What shall the number be? Fifteen? Give me a 
pretty good number now." Say No. 21 is chosen. In 
a minute or two I bring the cards from behind my 
back and square them up on the table. "Your card 
is now at No. 21," I declare to the spectator assisting. 
who then counts down from the top of the pack, com- 
mencvng with the number originally cast by the dice. 
If the total number of the dice were eight, the specta- 
tor counts the top as eight, the next nine, and so on 
to twenty, when the twenty-first card proves to be 
the selected card, originally noted at the eighth posi. 
tion in the pack. 

The solution of the trick is simple enough. 
When I place the cards behind my back, and request 
my audtors to choose "a good number," all that is 
necessary is to have a number higher than the number 
thrown by the dice selected for the appearance of the 
card. Therefore, when some such number as "21" 
is called for, I hold the cards behind my back and 
noiselessly count off twenty-one cards from the top of 
the pack, thus reversing their order, and replacing 
them, in such reverse order, on the top again. Now, 
no matter what the number thrown by the dice may 
have been, if the counting -is begun at the number 
thrown by the dice, the chosen card will always turn 
up at the desired number. 

The above series of card experiments will be 
found easy to master, and very entertaining. Other 
effective additions can be made as desired. 
The Torn Card Trick 

This popular card problem is entitled to share 
the same honors bestowed upon such classics as the 



The Magic Art 89 

Four Ace Trick, the Rising Cards, etc., for when it 
is properly presented no more incomprehensible effect 
can be found in the whole range of card magic. 

There are many versions of the Torn. Card Trick, 
some involving the restoration of the selected card 
in a frame, some in an envelope, and one of the best 
methods effects the restoration of the card in the flame 
of a candle. Of all these methods I have selected 
three which I have used at different times with the 
very finest results. 

The first method which I shall explain is the in- 
vention of Mr. Frederick Barrington, and its secret 
first appeared in print in Mr. Downs' "Art of Magic." 
My own presentation of the trick may be slightly dif- 
ferent from the inventor's, but the root idea is his. 

The requisites and preparation are as follows : 

A pack of cards. This may be a forcing pack, if 
desired. 

A pocket handkerchief prepared to the extent 
that the hem in one corner has been opened, -and a 
playing card, torn into quarters, and the pieces 
stacked, is inserted into the hem, which is then closed 
with a few stitches. 

Five envelopes, one fitting inside the other, each 
of four of them containing a card similar to the one 
to be forced (say, for the purpose of explanation, the 
Queen of Clubs), except that one-fourth of the card 
is missing. Fig. 13 shows how these four duplicate 
cards are prepared, with their loose corners. It 
should be noted that the same corner is not cut from 
all the cards, otherwise the similarity might be no- 
ticed. The four envelopes are secretly numbered 1, 
2, 3, 4, and they are nested so as to have one card 



90 



The Magic Art 




Fig. 13 
in each envelope to match the one to be drawn. The 
four corners or pieces that have been torn from the 
cards are numbered to correspond With the cards in 
the envelopes. That is to say,, the envelope . marked 
"1" contains the card whose missing corner is also 
marked "X." The four envelopes are then sealed and 



The Magic Aet 91 

nested, and placed inside of the large envelope, which 
is suspended somewhere in the room where I am going 
to perform. The_,four numbered pieces of the cards 
are squared up together on the table, and a small 
pair of scissors placed on them. The pieces of the 
cards are face dovm, and the secret numbers are writ- 
ten in one corner on the back of each. My own par- 
ticular system of marking is a single dot for "1," two 
dots for "2," and so on, using the same colored ink 
as that with which the backs of the cards are printed. 

I begin operations by forcing the Queen of Clubs 
(or whatever the card may be) on a lady. While she 
is noting the card, I drop the pack on the table, and 
with my left hand pick up the pieces of cards and 
scissors together. As I turn around I request the lady 
to state aloud for the benefit of the company the 
name of the card she holds, and when she complies I 
continue-: "Now I want you to take these scissors 
and cut the Queen of Clubs in half." I offer the 
scissors with my right hand, retaining the card pieces 
in my left by the finger palm. When the lady has cut 
the card, I request her to place the halves together, 
and to further reduce the card to quarters. I extend 
my right hand and receive the four pieces on the fin- 
gers in position for the finger palm. This hand im- 
mediately turns over, covering the left hand, and ap- 
parently leaving the card pieces in the latter. As a 
matter of fact, the right hand retains its pieces in the 
finger palm, while the pieces in the left hand are im- 
mediately fanned. With the palm of the right hand 
downward, I take the scissors from the lady and place 
them in one of my upper vest pockets, getting rid of 
the card pieces in the same operation. 



92 The Magic Art 

My right hand now joins the left and assists in 
spreading the four pieces of cards in front of the lady. 
The faces of these quarter cards are to the front, so 
that the secret marks are facing me, and when I 
invite the lady to retain one piece, impressing upon 
her the utmost freedom of choice, a mere glance at 
the backs of the remaining pieces reveals the number 
of the chosen piece. 

While I am telling the lady to retain the piece as 
a means of positive identification of her card later on, 
my right hand goes to my coat pocket and brings out 
the prepared handkerchief. This is spread over the 
three pieces of cards held at the finger tips of my left 
hand. As soon as they are screened the card pieces 
are taken in the finger palm, the right hand pushing 
the prepared corner of the handkerchief into the mid- 
dle from below. This latter hand then comes up and 
seizes the little card parcel through the handkerchief, 
and some obliging gentleman is invited to hold it in a 
similar manner. 

I now direct the attention of my auditors to the 
suspended envelope, which, I remind them, has been 
in plain view of everyone throughout the entertain- 
ment. While I am speaking I carelessly insert my 
hand into my left trousers' pocket, thus getting rid of 
the finger-palmed card pieces. I immediately with- 
draw the hand, bringing out my pen-knife. I explain 
that my problem consists of precipitating the pieces 
of card from the handkerchief into the sealed envel- 
ope. I will do even better than that. I will com- 
pletely restore the card during its little journey. I 
sieze a corner of the handkerchief held by the gentle- 
man, and cry "Go!" snapping the handkerchief in 



The Magic Art 93 

the air, to prove the disappearance of the card pieces. 
I spread the handkerchief, showing it on both sides, 
then place it in my pocket. I cut down the suspended 
envelope, by the aid of my pen-knife, and slit open 
the outermost one of the nest. Any one of the four 
inner envelopes are easily and quickly identified by 
their numbers. If the lady is holding the card cor- 
ner bearing, say, three dots, I remove the envelope 
bearing the same marking. I toss the remainder of 
the nest of envelopes to one side as having no further 
purpose in the experiment, and carry the chosen one 
down to the lady. She opens same and finds, appar- 
ently, her card completely restored with the exception 
of the missing piece, which she compares and finds 
it fits exactly. 

The Card in the Loaf 

The effect of this version of the Torn Card Trick 
is very good, and was one of the specialties of Mr. 
Ray Newton on the chautauqua platform. 

The requisites consist of a forcing pack of cards, 
a conjurer's pistol provided with the usual nickeled 
funnel, a loaf of bread and a grocer's paper bag suf- 
ficiently large to accommodate the loaf. 

Beforehand, one of the force cards, say the Jack 
of Spades, is mutilated to the extent of tearing off 
one of its corners, and this corner is stuck, by means 
of a pellet of wax, just inside the funnel of the pis- 
tol. Across one end of the loaf of bread (which 
should not be too fresh, to permit of making a clean 
incision) a wide, slit is made by the aid of a sharp 
knife, reaching a:t least an inch and a half beyond the 
center of the loaf. Into this slit the torn corner 
Jack of Spades is carefully inserted, so that the cen- 



94 



The Magic Art 



ter of the card is at or near the very center of the loaf. 
The latter is then put into the paper bag, the top of 
which is drawn up and tied with a string, and the 
parcel suspended where it will be in plain view of the 
audience from the beginning of the entertainment. 
When the performer goes down with the' pack of 
cfrfs, he forces the Jack of Spades. He requests the 




Fig. 14 
spectator to tear the card into small pieces, and then 
to deposit all the pieces into the funnel of his pistol, 
which he presents funnel up for the purpose. When 
the spectator complies, the conjurer recalls that per- 
haps the person would like to retain a piece of the 
card for later identification, and he forthwith inserts 



The Magic Art 95 

his hand into the funnel and brings out a corner, sup- 
posedly of the "drawn card, which is presented to the 
lady or gentleman assisting in the experiment. But 
when the performer inserts his hand into the funnel, 
he really dislodges the card corner previously stuck 
there, and it is the piece which is given to be held. 
A wad of paper is now rammed down on the card 
pieces in the pistol, and a little fun afforded in select- 
ing a good marksman in the audience. The conjurer 
stands beside the man or boy who is willing to dis- 
charge the pistol, and directs the aim at the suspended 
paper bag. At the count of three the pistol is dis- 
charged; the performer seizes the pistol (to prevent 
any inclination on the part of the spectator to investi- 
gate the contents of the funnel), and runs upon the 
platform. He pulls down the suspended parcel and 
tears off its wrapper, revealing the loaf. He reflects 
a moment, as if puzzled over the contents of the parcel ; 
then he breaks the loaf across the middle, revealing 
-imbedded in its very center, the missing card. By 
reference to Fig. 14, it will be noted that the enter. 
tainer removes that end of the loaf which exposes the 
whole end of the card, the mutilated end being con- 
cealed in the lower half of the loaf. He states, "You 
see I have completely restored your card — not a single 
piece missing. Am I not correct?" Generally the 
spectator so addressed feels a hesitancy about expos- 
ing (as he or she believes) the conjurer, even though 
the corner of the card is in their possession, so when 
the performer apparently notes such hesitancy, he 
recollects that a piece of the card w^as retained by the 
spectator for later ic'entification, and forthwith draws 
the card out of the remainder of the loaf, revealing 



96 The Magic Art 

the missing corner. The card is passed down to the 
spectator, who, naturally, finds the corner to fit ex- 
actly. 

The Card, Orange and Candle 

This Torn Card Trick demands a little previous 
preparation, but it is time well spent by the conjurer, 
for it is one of the most mysterious and spectacular 
experiments in card magic. 

The requisites consist of the following: 

A forcing pack, unless you force from an or- 
dinary. 

Three oranges. 

A pocket handkerchief prepared as in the first 
method; that is, with four card pieces stitched in the 
hem at one corner. 

A mechanical candle-stick employed for causing 
the magical appearance of a card in the flame of the 
candle. 

A pistol provided with a funnel. 

A small plate and a fruit knife. 

One of the oranges is "'faked" beforehand by re. 
moving the pip (which is saved for future use), and 
the pointed end of a lead pencil pushed into the top 
of the orange in the exact spot from which the pip was 
taken. Some times the tough, fibrous core of the 
orange can be removed without difficulty, although 
the introduction of the pencil will generally make an 
opening sufficient to answer the purpose intended. 

Two cards are now removed from the forcing 
pack, say Kings of Hearts. From one of them is torn 
a corner (which is preserved), and the torn card is 
soaked in water for a few moments, after which it is 
rolled up tightly, as you would roll a cigarette, when 



The Magic Art 97 

it is gently forced into the small hole in the orange, 
care being taken not to tear the skin of the fruit in 
this operation. The card is forced well into the 
orange, after which a little of the fibrous substance 
from another orange is used to close the hole. By the 
aid of a little adhesive wax the pip is attached to its 
proper place, when the closest examination will not 
reveal anything wrong with the fruit. 

This prepared orange should be marked so that 
it can readily be identified among the other two 
oranges upon the plate. 

The corner that has been torn from this King of 
Hearts is placed under the forcing pack of cards upon 
the table. 

The second King of Hearts is placed in the clip 
of the spring arm on the candle-stick, and concealed 
in the base of the latter in the usual manner, the re- 
leasing thread running off to the screen or wing, to 
the hand of the assistant. 

When the conjurer begins the trick, he comes 
forward with the plate of oranges, and by the 
aid of a little adroitness the prepared orange, is 
forced upon a spectator. If, however, the first per- 
son to take an orange from the plate persists in se- 
lecting one of the unprepared ones, the performer 
merely requests him to examine it thoroughly, and 
passes on to another party. If the three oranges 
are arranged on the plate in the beginning in the form 
of a triangle, with the prepared orange at the apex, 
it will be found that the latter fruit will invariably 
be the chosen one. 

After the spectator has carefully examined the 



98 



The Magic Art 




Fig. 15 



The Magic Art 99 

prepared orange, it is placed on the table at the foot 
of the candle-stick, the candle of which is then lighted. 

The performer now comes forward with the forc- 
ing pack in his left hand. The right hand finger 
palms the torn card corner. A King of Hearts is 
forced upon a spectator, who is requested to tear 
the card in half, and then to reduce it to quarters. 
The four card pieces are received on the top of the 
pack in the left hand, and the right hand now ap- 
parently takes one of the pieces and returns it to the 
spectator to retain, really giving him the palmed 
piece which has never left the right hand. 

The conjurer squares up the card pieces (so that 
their precise number can not be noticed), and holds 
them at the finger tips of the left hand. The pack' 
of cards is dropped into the pocket, and the prepared 
handkerchief brought out and spread over the card 
pieces, the latter then being finger palmed. A spec- 
tator holds the handkerchief in manner explained in 
the first method, the prepared corner of the handker- 
chief leading him to believe that he is holding the 
original card pieces. 

Finally, the conjurer seizes one corner of the 
handkerchief, and tells the spectator to release his 
hold at the count of three. The performer accord- 
ingly snaps the handkerchief in the air, making the 
disappearance of the card pieces apparent. He re- 
turns the handkerchief to his pocket, and gets the 
orange resting at the base of the candle-stick on the 
table. By the aid of the fruit knife, the orange is 
cut open at right angles to the position of the rolled 
up card, so that when the fruit is divided into halves 
the card sticks up in one half. The entertainer car- 



100 The Magic Aet 

ries this portion of the orange down to the spectator, 
who pulls out the card and matches the missing cor- 
ner to it. 

Apparently as an afterthought, but really to pave 
the way to the second stage of the trick, the performer 
inquires of the spectator if he or she would care to 
retain the card as a souvenir ; that inasmuch as the 
card is rather "soggy" with orange juice, it might be 
a good idea to "launder" it by the aid of a little magic. 
So he loads the wet card and the dry corner into his 
pistol, and fires at the candle. The card, completely 
restored, appears in the flame, and is presented to the 
spectator as a souvenir of the performance. (See 
Fig^. 15.) 

A Hypnotic Experiment 

In this novel trick the conjurer states that he 
will next introduce an interesting experiment based 
upon the laws of hypnotism. He explains that not 
only animated objects can be subjected to the mes- 
meric influence, but inanimate objects as wtell. For 
his subject, he states, he will select some of the cards 
with which he has been performing, first exhibiting 
them to prove that they are in no wise prepared. He 
then proceeds, by means of repeated passes, to charge 
them with the mesmeric fluid, and taking two of 
them, gently rubs them against each other, causing 
one card to adhere to the other, which is held in the 
hand. Seizing another card and rubbing it against 
the second suspended card, he causes it to adhere to 
this in the same mysterious manner (see Fig. 16), 
and so continuing, if desired, until he has quite a 
chain of them clinging together. They are then re- 



The Magic Akt 



101 



moved one at a time, and once more shown to be un- 
prepared. 

Of course, hypnotism has nothing to do with the 
experiment. The apparently wonderful result is ob- 
tained by very simple means, the performer using 
specially prepared cards for the trick. In each cor- 
ner of the black line which surrounds the court cards 
a tiny hole is made with a very fine needle. Through 
this hole a human hair is drav/n, and its end fas- 




Fig. 16 

tened on the back of the card by means of a small 
piece of another split card, which is neatly glued on 
to match the pattern. The other end of the hair is 
then passed through the second hole in the same end 
of the card, and secured in a similar manner. Each 
card, of all the court cards that are to be used, is 
prepared in this manner. By an inspection of Fig. 



102 



The Magic Art 



17, in which the hair is represented by a, fine y/ihite 
line in the black corner line of the picture of the card, 
the arrangement will be easily comprehended. 

The remaining cards, which may either be spot 
cards or court cards, are first split in the upper right 
and lower left hand corners, after which a very small 
hook (A, Fig. 18) is inserted at these corners, which 




Fig. 17 
are then glued shut. Properly prepared, the cards 
can be safely shown around without the slight prepa- 
ration being noticed. 

Holding a court card in the right hand, the con- 
jurer with his left hand seizes a spot card and rubs its 
upper right hand corner against the lower end of 
the court card, and after a few pretended futile at- 
tempts, slips the hook A under the tightly stretched 



The Magic Akt 



103 



hair of the court card, causing the two cards to ap- 
parently adhere in the manner described. Seizing 
another court card and rubbing its face against the 
back of the spot card, he suspends it to the latter, con- 
tinuing this process until he has a chain of cards, 
which are then removed one by one and are again 
shown to be, to all appearance, unprepared. 




Fig. 18 
A pretty effect can be created at the finish of 
the experiment by taking the disengaged left hand 
and placing it under the lowermost of the suspended 
cards, making an upward motion with this hand and 
causing all the cards to separate and fall to the floor. 

Neatly performed, this clever little trick will be 
found highly satisfactory, especially if it is introduced 
after some more pretentious card experiment, as a 



104 The Magig Art 

sort of impromptu item. But it should not be car- 
ried too far. Three, or at most, four cards "hypno- 
tized" in manner explained will be found ample. For 
instance, at the conclusion of the Rising Cards Trick, 
in which three chosen cards have risen, successively, 
from the pack, the conjurer can take apparently these 
same three cards and "hypnotize" them as above ex- 
plained. As a matter of fact, the prepared cards 
are resting on the table throughout the trick of the 
Rising Cards, and are merely picked up in place of 
the other cards. The combination of these twb ef- 
fects is very good. 

The Cards, Coins and Glass 

The trick of passing a few coins into a glass 
which is covered with a pack of cards, the coins be- 
ing seen and heard to fall therein, is by no means new, 
but like many another old-time trick it is still worthy 
of the conjurer's consideration. I have used one of 
the methods explained in Mr. Roterberg's "New Era 
Card Tricks" with such good success that I am in- 
cluding that version here. 

The table upon w(hich the tumbler is placed for 
the trick must be either a regular conjuring table with 
box top, or, if the latter is not available, a parlor table 
with a partly open drawer may be used. Face down 
on the table lies a card, the back of which is painted 
the same color as the table top. To one end of this 
card is attached a black silk thread (A, Fig. 19), 
about fourteen inches in length, which is firmly tied 
to a small ring, C, to which also is secured a black 
elastic cord, B, the end of which is fastened to the 
inside of the table or table drawer, as shown in the 
illustration. 



The Magic Art 



105 



To set the combination of thread, ring and elastic, 
the latter is drawn out to its full tension, and pre. 
vented from flying back by the needle, E, which is 
pushed partly into the top of the table. To the eye 
of the needle is fastened another thread, D, which is 
either passed behind the scenes to the assistant, or 
may be secured to the performer's wand which is 




Fig. 19 
lying on the table. I, personally, use an assistant, 
so that I may stand at some distance from the table 
when the coins pass into the glass. 

My own presentation of the trick is as follows: 
I begin by borrowing two half dollars, which I re- 
quest the owners to mark. I exchange, these coins for 
two half dollars of my own, and just as I walk behind 
the table my assistant comes forward with a tray 
bearing the water tumbler and pack of cards. He 
places the two last mentioned articles on the table di- 
rectly in front of the black backed card that is at- 
tached to the elastic, and under cover of his move- 
ments I secretly place the two borrowed coins beside 



106 The Magic Art 

each other on the prepared card. I do this with my 
right hand, while my left is extended, holding the 
substitute coins in view at the finger tips. I im- 
mediately drop the substitute coins in the glass, and 
the left hand takes the glass, while the opposite hand 
picks up the cards. These movements are perfectly 
natural, and effectually cover the placing of the bor- 
rowed coins on the black card. 

I now come forward with the coins in the glass 
and the pack of cards, permitting several of the spec- 
tators to examine same. It is a good idea to have 
the pack shuffled, for it is essential that the audience 
be impressed with the fact that the cards are unpre- 
pared. This being determined, I return to the table, 
placing down the pack on top of the coins on the black 
card. The substitute coins are tipped from the glass 
into my left hand, and the glass placed on the table 
a few inches in front of the needle which holds the 
ring, C. . The pack, together with the black card and 
borrowed coins, are noW placed evenly on the glass, 
the state of affairs on the table at this point being 
exactly as shown in Fig. 19. 

I now make the pass with the two coins, really 
retaining them in the left hand, while the right makes 
a throwing motion toward the glass and cards on the 
table. At the same moment my assistant jerks the 
thread, D, pulling the needle out of the table top. 
This releases the ring, E, and the elastic recedes with 
great rapidity within the table, carrying with it the 
ring, thread and black card, which is so quickly jerked 
from under the pack that the coins do not accompany 
the card, but fall directly into the glass with a merry 
jingle. 



The Magic Art 107 

As all preparation has vanished into the interior 
of the table with the elastic, a spectator majc come up 
and inspect cards, glass and coins, which are, by the 
marks on them, identified as the borrowed ones. 

This capitol coin trick is well worth the slight 
preparation necessary for its performance, as a .trial 
will convince. .;. 

Knarp's Coin and Ball op Wool 

Knarf contributed many good things to magic iii 
his day, and had he lived the art would have been 
the richer for it. Be prized this Coin and Ball of 
Wool trick highly, as he told me that it made a hit 
every time ^i- was presented. 

And yet the bare bones of the trick are very, 
very old. By adding a touch of originality here and 
there, however, Knarf "made a hit every time it was 
presented." Surely this is food for thought. 

Briefly stated, the effect \\^as this: A half dol- 
lar, marked by a spectator, was borrowed, covered 
with a handkerchief, and the coin then permitted to 
fall into a glass of water, under the handkerchief. 
A ball of wool, given into the keeping of a spectator, 
was then unwound, when the original, marked coin 
was found. 

The plot sounds hackneyed enough, but, as stated 
above, Knarf put just a touch of originality into the 
trick, and obtained a highly effective experiment 
thereby. A close analysis of his method reveals the 
fact that his deception hinged upon the psychological 
fact that the spectators can not follow two separate 
lines of thought at one and the same time. 

Knarf borrowed a half dollar, and had it marked 



108 The Magic Art 

by a spectator. Spreading a handkerchief over his 
pahn, he apparently wrapped the coin therein, se- 
cretly exchanging the coin for the usual glass disc. 
At this point he requested his stage assistant to bring 
him a glass of water, and as he lifted the glass from 
the assistant's hand, Knarf secretly dropped the bor- 
rowed coin into the assistant's palm. Now here is 
where a little well-timed work on the part of the 
performer and his assistant made the trick. Knarf 
now came forward with the supposed coin under the 
handkerchief in the one hand, and the little glass of 
water in the other. Nobody paid the slightest at- 
tention to the assistant, for everyone was watching 
the magician to see what he was about to do with 
the borrowed half dollar. Knarf asked that a spec- 
tator hold the coin in the handkerchief over the glass 
of water and wjould some young lady hold "this ball 
of knitting wool?" which for safe keeping was 
wrapped up in a second handkerchief. 

As a matter of fact, the assistant, after getting 
the borrowed half dollar into his possession, had only 
to turn to a table placed rather back on the stage, and 
while his back was turned, he inserted the coin into 
the tin slide protruding from the ball of wool, and 
then jerked out the slide. He immediately faced the 
audience with the ball of wlool in his one hand, and 
a rather large handkerchief in the other. By the 
time he had reached the foot-lights, the performer 
had placed the coin-in-handkerchief and glass of wa- 
ter into the keeping of a spectator, and now turned 
to receive the ball of wool from the assistant. The 
introduction of the ball of wool followed so closely 
upon the disposition of the coin and glass of water, 



The Magic Art 109 

that the spectators missed the real psychological point 
in the working of the experiment. 

The ball of wool was wrapped in the second hand- 
kerchief and given into the keeping of the young lady 
in the audience. Spectator No. 1 was told to drop 
the coin, and it was heard to fall into the glass of 
water. When he removed the handkerchief, Knarf 
had a little fun with the spectator by telling him he 
had lost the coin and must make it good to the owner, 
etc. Finally, the young lady was requested to un. 
ravel the wool, and she, of course, found the original, 
marked coin. Inasmuch as she was holding the wool 
in the handkerchief before the coin was dropped in 
the glass of water, the experiment proved a complete 
mystery to the audience. 

An effective addition to the trick might be the 
finding of the coin in the innermost box of the locked 
Silver Boxes, provided for the Ball of Wool Trick. 
The Coin and Orange Trick 

I am indebted to Mr. Roterberg's "Modern Wiz- 
ard," now out of print, for the root idea of the pres- 
ent version of this very effective coin trick. Clothed 
with appropriate patter, and the ability to palm and 
ring coins, it forms a capitol experiment. In effect, 
a borrowed half dollar, marked for later identifica- 
tion by the owner, is conjured successively into the 
owner's pocket and an orange. 

My preliminary arrangements are as follows: 

On table, a coin wiand for producing half dollars; 
a plate, or tray, containing two oranges ; and a fruit 
knife. The right hand orange (as viewed by the 
company) is quite unprepared. The other orange 
has a slit cut into it reaching to the center of the 



110 The Magic Art 

fruit, into which is inserted a half dollar. For the 
sake of clearness I will call this Coin No.: 2... 

Before coming forward I palm in right hand a 
second half dollar. This coin . (which I shall call No. 
1) bears the same date and general appearance as 
Coin No. 2, and both coins bear a mark, say a cross, 
on one side. 

I begin operations by asking the loan of a marked 
half dollar, which I receive in left hand, in readiness 
for the tourniquet pass. I immediately carry the 
coin to some gentleman on the other side of the room 
for verification of the mark, "ringing" (exchanging) 
it during the journey for the substitute in right hand. 
As this second gentleman is not acquainted with the 
original mark, he naturally accepts the mark on the 
substitute as the original. While he is examining 
the coin, I return to my table and invite the company 
to choose one of the two oranges for the experiment 
to follow, really forcing the- choice of the unprepared 
orange (on myJeft, as I stand behind the table), by 
the well-known alternative- of "your right and my 
left." I immediately bring , forward the chosen 
orange, together with the fruit knife, ' and hand both 
to' the first gentleman (the owmer of the coin) for in- 
spection, requesting him to place the orange upon the 
point of the knife and hold same well up to the view 
of the company. In taking the orange from the 
taible, the palmed borrowed coin is left concealed be- 
hind the wand. 

I now advance to the second gentleman, incident- 
ally showing my hands empty without verbally calling 
attention to ; the fact, and take from him the substi- 
tute coin, supposed by those present to be the original. 



The Magic Art 111 

Eetreating a few steps toward the table, I vanish the 
coin (No. 1) by means of the tourniquet, simulating 
a throwing motion with the right hand, which is sup- 
posed to contain the coin, toward the orange held by 
the first spectator. 

Showing my hand empty, I walk to the table to 
obtain my wand, getting rid of Coin 1 during the 
journey, and again obtaining possession of the orig- 
inal coin as I pick up the wand in left hand. I then 
come forward, requesting the gentleman to cut open 
the orange and extract his coin. He complies with 
my request, to the extent of cutting open the fruit, 
but naturally fails to find any trace of the half dol- 
lar therein, even after dividing the orange into 
quarters. 

"This is very strange, sir," I declare. "It is very 
seldom that the coin fails to reach its proper destina. 
tion, but inasmuch as it did not pass into the orange, 
perhaps if you will be good enough to search your 
pockets, it may throw some light on the mystery." 

He accordingly searches his clothing, but without 
results. So far I have had the borrowed coin con- 
cealed in left hand by holding the wand in same hand. 
1 now carelessly transfer the wand to my right, leav- 
ing the coin still in the left. Offering to lend a lit- 
tle assistance to the gentleman, I tap first this pocket 
and then that one with the tip of my wand, finally 
professing to detect a slight metallic response on the 
outside of the coat directly over the inside pocket. 
Requesting him to open his coat, I rub the tip of the 
wand on my coat sleeve, "to arouse the necessary 
magnetism," and then quickly insert the "coin" end 
of the wand into the pocket. This operation brings 



112 The Magic Art 

no result, but a second attempt discloses the missing 
half dollar mysteriously attached to the tip of the 
wand. I remove it with my left hand, and immedi- 
ately return it to the owner for verification of the 
mark. The apparent removal of the coin from the 
Wand is, of course, accomplished by the usual secret 
exchange. , 

The apparent production of the borrowed coin 
on the tip of the wand from a pocket totally inacces- 
sible to the conjurer, never fails to elicit the greatest 
astonishment and applause. 

Having, according to my own viewpoint, failed 
in passing the half dollar into the orange, I now offer 
to repeat the trick, using the same marked coin. I 
therefore obtain the remaining orange from the table, 
and, inserting the point of the knife into the slit 
already there, bring knife and orange forward to the 
second gentleman, remarking that the first is too 
much of a conjurer himself to be trusted again. The 
borrowed coin is now vanished once more (wrapped 
in flash paper, and "flashed off" in the candle flame, 
is a good variation), and upon Cutting open the 
orange the gentleman discovers therein "the" coin, 
which, being marked identically the same as the first 
coin shown to him, is accepted as the original half dol- 
lar. Walking over to the ow;ner of the coin, I "ring" 
the substitute for the original, and the owner is bound 
to admit that the half dollar is his own. 

For those of my readers who do not possess a 
Half Dollar Wand for the above trick, I will briefly 
describe the version given by Mr. Roterberg in the 
"Modern Wizard." 

As before, two oranges are used, but in this case 



The Magic Art 113 

each is provided with a slit beforehand, in one of 
which is inserted Coin No. 2. The trick now pro- 
ceeds precisely as above described, the performer, 
howtever, in the first instance forcing the choice of the 
orange without the coin, into which he secretly pushes 
the borrowed coin in the act of bringing it forward 
for the owner of the coin to hold. The substitute 
(No. 1), after being shown to the second spectator, 
is then caused to vanish, and the owner of the half 
dollar discovers his property buried in the center of 
the orange upon cutting open the latter. Offering 
to repeat the experiment, the performer now places 
the second orange (containing Coin No. 2) into the' 
keeping of the second gentleman, and vanishes the 
original half dollar. Of course, the spectator finds 
the substitute (No. 2) imbedded in the fruit, which 
is once more secretly exchanged for the original, 
which latter coin is returned to the owner for final 
identification, thus bringing the experiment to a 
close. 

A Dye Tube "Wrinkle" 

If my memory does not fail me, this clever 
"wrinkle" for secretly getting rid of the dye tube in 
the Color Changing Handkerchief Trick was imparted 
to me by my friend, Mr. C. Porter Norton. 

A bottomless tumbler is placed in readiness for the 
trick on a Black Art table, just in front of an open 
well or trap. 

When you have apparently ptssed the three white 
silks successively through the paper tube, and brought 
them out red, blue and orange, respectively, or what- 
ever colors you use, you still retain the dye tube within 
the paper cylinder, and, picking up the three colored 



114 The Magic Aet 

silks, push them all together partly back into the top 
of the cylinder, at the same tvtne placing the latter into 
the (bottomless) tumbler on the table. 

Let the dye tube settle down to the bottom of the 
paper cylinder, so that it rests on the table through the 
hole in the glass, and permit the paper to open out 
around the sides of the tumbler, cornucopia-fashion, 
wfith the colored silks hanging over the edge. 

Immediately this state of affairs is reached, draw 
the tumbler back over the Black Art trap, permitting 
the dye tube to slide into the opening. In other words, 
the right hand seizes the tumbler, and, with a sweep- 
ing motion, carries the glass up to the opposite hand, 
placing it on the palm thereof. Advancing to the audi- 
ence, a spectator is invited to remove the silks and 
paper cylinder from the glass for close inspection. 

The above method of dispensing with the dye 
tube is particularly effective . for close work, 
Knarf's "The Flag Between" 

Some ten years ago my good friend, Mr. Frank 
P. Knight (Knarf), now deceased, contributed, among 
other tricks, the following effective version of the 
Twentieth Century Trick, for a book on conjuring 
which I was then planning. The trick involves sev- 
eral points of novelty, and most of the objects em- 
ployed are unprepared. 

Four silk handkerchiefs, two blue and two white, 
and two American flags, 8x12 inches in size, all un- 
prepared, are used. Also an unprepared glass tube^ 
a vanishing handkerchief wand, a conjurer's pistol, 
and an imitation candle consisting of a hollow paper 
tube, with a short piece of real candle inserted in one 
end. 



The Magic Art 115 

The conjurer begins operations by knotting one 
blue and one white liandkerchief together, which he 
loads into the funnel of his pistol. He then forms a 
tube of paper and places it inside of the glass tube. 
The flag is draped over the tube and pushed down 
Avith the wand. 

The performer explains that he will try to shoot 
the two handkerchiefs into the tube, and tie the flag 
between the two handkerchiefs. He places the tube 
in an upright position on a table at the opposite side 
of the stage, and, finding that he can not see it very 
plainly, calls for a lighted candle, which his assistant 
brings in. This candle is the dummy, loaded with the 
duplicate flag tied between the duplicate blue and white 
silks. The lighted candle is placed between the glass 
tube and the performer, who then shoots at thg tube, 
and, walking over to it, finds that not only has the 
trick failed, but the flag has completely disappeared 
from the tube. The assistant now whispers something 
to the conjurer, and after an apparent argument, the 
performer remarks that his all- wise assistant claims to 
have seen the handkerchiefs and flag fly into the 
candle. Securing a piece of paper, the candle is 
wrapped therein and the parcel twisted up until it 
bursts, when the flag, tied between the blue and white 
silks, is found in place of the candle, the latter being 
produced, lighted, from the conjurer's pocket. 

The best part of this trick is, as Knarf said, that, 
the flag and handkerchiefs can be freely shown, as 
there is no preparation about them. 

The Handkerchief Sword 

Many of my readers no doubt possess this fine 
sword, by the aid of which a silk handkerchief is mag- 



116 The Magic Art 

ically produced upon its point; but its main objection 
is the brevity of the effect commonly obtained. 

My own method of presenting the Handkerchief 
Sword creates a more pretentious effect; in fact, used 
as a climax to a series of handkerchief manipulation, 
it will be >found a most brilliant stage trick. 

During the course of his act, the conjurer pro- 
duces, magically or otherwise, some ten or fifteen 
brightly colored silks, representing nearly all the col- 
ors of the rainbow. These are finally arranged over 
a chair back, or across the front edge of the table. The 
performer now goes into the audience with a number 
of small feards, each bearing the name of some color, 
such as red, blue, green, orange, etc. The cards are 
casually shown all different, and a spectator invited 
to select one, to note the color written upon it, and 
then to place the card in his own pocket. The per- 
former returns to the stage, and, gathering up the 
different colored silks, passes them one after the other 
to his assistant, who groups them in his outstretched 
hand. 

The conjurer now introduces the sword. He as- 
sumes a fencing attitude, facing his assistant, and at 
the count of three the assistant tosses the silks high 
in the air; the performer lunges into the falling silks, 
and steps forward with one of the handkerchiefs im- 
paled on the sword tip. . The spectator who selected 
the color card verifies the color of the silk caught on 
the sword. 

Of course, the particular color is forced upon the 
spectator, the lower section of the. packet of cards 
bearing different color words, while the top section 



The Magic Art 117 

has the same color word written on some ten or a 
dozen cards. Say the color is to be green, the hand- 
kerchief sword is beforehand duly . arranged with a 
green silk, and a duplicate green silk is among the 
other colored handkerchiefs used in the act. When 
the performer goes into the audience with his pack 
of color cards, he raises the pack and spreads the bot- 
tom portion, showing the different colors wiritten 
thereon. Lowering the pack, he spreads the top por- 
tion and requests a spectator to select one. Naturally, 
one of the "force" cards is drawn, which is placed in 
spectator's pocket. When the conjurer returns to the 
stage, he gathers up the silks and passes them, one 
by one, to his assistant, who receives them in his left 
hand and thence passes them to the right, where they 
are seized by one corner between the thumb and fore- 
finger. This procedure is followed with a purpose, 
for the assistant wears a sleeve pull, which terminates 
in a long gut loop slipped over the first and second 
fingers of the right hand, and thence up the sleeve. 
The silk of the forced color is about the third silk 
passed to the assistant, and as he transfers it from 
his left hand to the right, he passes its corner through 
the loop of the pull. The remaining silks are grouped 
jn the same hand. 

The conjurer now seizes the sword and faces the 
assistant, who tosses the silks into the air. The higher 
the silks are tossed, the better the effect. The 
straightening of the assistant's right arm in the throw 
brings the sleeve pull into action, and the green silk 
flies up the sleeve. The magician lunges into the 
shower of silks, and produces the duplicate green silk 
on the sword tip. 



118 TriE Magic Art 

Improved Candle and Handkerchief Trick 

This clever trick is the invention of Mr. Louis 
F. Christianer, whose fertile brain has contributed 
many good things to magic. 

The performer exhibits a solid glass candle-stick. 
A cardboard tube is shown to be absolutely empty, 
and is placed in the candle-stick. A candle is next 
lighted and placed in the- tube, but it projects above 
the tube slightly so the audience can see it burning 
all the time. • The performer then places a small cap 
on the candle to extinguish it. Two handkerchiefs are 
then taken up and rolled in the hands, and are caused 
to vanish. The tube is then lifted out of the candle- 
stick, the cap removed, and the handkerchiefs found 
therein, all trace of the candle being gone. The 
candle is then produced from the inside coat pocket. 

Reference to the illustration (Fig. 20) will make 
matters clear. The candle is a brass tube enamelled' 
to represent a candle. There is a small cup for the 
top end, as shown at "A." A small portion of a candle 
with' a wick is in this cup. The bottom end of the 
candle is provided with a small plug, as shown at 
"B." This is readily removed, but at a short distance 
is not noticed, as it represents the lower end of the 
candle. 

There is no preparation about the cardboard tube, 
except that it is made so that the candle will fit in 
same tightly. Also at one end there is a narrow ledge, 
as shown at "C," running around the inside of the 
tube. The lower edge of the fake candle comes in 
contact with the ledge, and prevents it from slipping 
out of the tube. The candle is of such a length that, 
when pushed down flush in the tube, and after the 



The Magic Art 



119 



'd: 




(JSj. ^j|^[.iipiM«t^aWPJ^|P 




top cap has been removed, the upp^r edge will be flush 
with the top of the tube., ,, ., . 

The fake candle is loaded with two silks, and the 



120 The Magic Art 

top cap with wick and the lower plug are inserted at 
the ends. 

In presenting the trick, the conjurer calls atten- 
tion to the candle-stick, which is of glass so that every- 
one may see that nothing comes up from the bottom. 
The tube is shown to be empty, and placed in the 
candle-stick, with the ledge in one end downward. 

Next the candle is lighted, and in the act of plac- 
ing it in the tube the lower plug is palmed off. The 
candle is then pushed down in the tube, but projects 
above the top so that it is seen all the time. The cap 
is then placed over same, as "demonstrating tht; old 
time method of snuff ing candles." The duplicate silks 
are taken up and vanished by means of the handker- 
chief pull. The cap is removed, and the candle found 
to have disappeared. Naturally, the cup in the top pf 
the fake candle comes off with "the cap. The tube is 
removed from the candle-stick, and the handkerchiefs 
produced therefrom. Magical entertainers will find 
this a very effective trick. 

Holmes' Color Changing Egg 

To prepare for this novel effect, a little prepara- 
tion of two celluloid eggs is necessary. One of the 
eggs is painted a bright green ; the other red. At the 
broad end of each egg a small hole is made, into which 
the knotted end of a loop of gut is pushed by means 
of a sharp instrument, after which a dab of plaster 
paris is cemented over the opening, and the spot 
touched up with paint. The gut loops on these eggs 
should be about two inches long. 

Beforehand, the wand is laid on the table with 
one end extending beyond the rear edge to the extent 
of a few inches, and the green egg is suspended be- 



The Magic Art 



121 




Fig. 21 



122 The Magic Art 

hind the table by. means of the gut loop slipped over 
the projecting end of the wand, as in Fig. 21. 

The red egg is inserted in the small well close to 
the front edge of the table, the loop on the egg pro- 
truding from the well, and a handkerchief is placed 
over this corner of the table. 

When I finish a trick in which an egg has figured 
more or less prominently, I place this egg (preferably 
of white celluloid) on the table just in front of the 
large well. Presently, I apparently pick the egg up 
with my left hand, really sweeping it into the trap, 
and holding the hand partly closed as if the egg were 
there. With my right I pick up the wand, but the 
hand goes behind the table and gathers in the green 
egg suspended there, as it rises and lifts the wknd. 
1 tap the closed left hand impressively with the wand, 
which is then slipped under the left arm, and the right 
(with the palmed green egg) covers the left. The 
hands are rotated a little and the green egg exhibited 
at the finger tips of left hand. If due care has been 
exercised in the precise position of the hands, the illu- 
sion of the white egg changing to green is perfect. 

While I am exhibiting the egg, I profess to hear 
a spectator remark that he does not like the color. I 
say, "Oh, perhaps you don't fancy the Irish. Very 
well, sir; I will show you something altogether dif- 
ferent — say a bolshevist egg. You don't know what 
a bolshevist egg looks like? Then watch." 

While I am speaking, I pick up a glass and put 
the green egg into it. This glass is bottomless, so I 
rest it on my left palm when I slide the egg in. My 
right hand then picks up the handkerchief thrown over 
the corner of the table; the gut loop attached to the 



The Magic Art 123 

red egg is seized at the same time, and this latter egg 
brought out of the small trap as the handkerchief is 
raised to cover the glass. It is' not a difficult opera- 
tion to screen the glass with the handkerchief, and 
permit the green egg to settle down through the lower 
opening into the palm, while the red egg is inserted 
at the top. The handkerchief is then spread com- 
pletely over the glass, and both taken in the right 
hand, while the left, which holds the green egg, dis- 
penses with the latter in the servante in the act of 
reaching for the wand. 

The right hand is now inserted under the hand- 
kerchief, and the glass placed on the palm. The glass 
is shaken, to prove, the presence of the supposed green 
egg therein. I hand my wand to the gentleman to 
whom my previous remarks were addressed, saying, 
"You see when you are dealing with a bolshevist ele- 
ment, it is necessary to take precautions. That is 
why I have confined the egg in this glass. Now I 
will ask you to tap the glass with my wand — ^that's 
good, and," removing the handkerchief, "you see our 
Irish friend has become the most radical bolshevist." 

I roll the red egg out of the glass, and exhibit it 
at finger tips, concealing the presence of the gut loop 
with my thumb. 

Christopher's Egg and Bag Trick 

It is with a feeling of genuine pleasure that I 
here present to the reader the original patter and 
method employed by my good friend Christopher in 
his inimitable presentation of the Egg and Bag Trick. 
Every magician who knows Christopher (and his 
friends are legion) knows that in his hands this con- 
juring classic is nothing short of a masterpiece. His 



124 The Magic Art 

description constitutes a real lesson in conjuring — 
a lesson which even the "old timer" may peruse to his 
advantage. And so 'I say, if you have never seen 
Christopher do the Egg Bag, you have missed a real 
treat. He can set the patter, the misdirection, down 
with his pen, but the personality, the magic spell 
woven by the originator, can not be duplicated. 

The description follows in Christopher's own 
words. 

The Egg and Bag Trick as I Did It 

No doubt most of my readers are familiar with 
the impressive method of presenting the egg and bag 
trick. Its only drawback in playing theaters where 
there are balconies and galleries is the fact that the 
upper floors can not see what you are doing when 
you are in the aisles, thus losing some of the effect 
of the trick. To overcome this, have two boys' come 
upon the stage; I prefer men when I can get them. If 
necessary, have the boys "planted," but do not re- 
hearse them in anything that they are to do, or they 
will try to "act" and thus overdo it. 

There are several ways of making the bag. My 
favorite is the one with one side double, and the open- 
ing in the lower right hand corner in the seam. Pro- 
vide yourself with a "Demon Handkerchief," a fan, 
a wand, and several blown eggs. The egg to drop on 
floor should be thoroughly dried out. 

Presentation : "In my next trick I would like to 
have the assistance of two boys upon the stage" — ^then 
if slow in coming, "any bOy froin ten to sixty will 
do." When you get the boys on stage, place one on 
your right and one on your left. "The reason I in- 
vite the boys on the stage is to enable me to perform 



The Magic Art 125 

the trick where everyone can see what is transpiring. 
I will direct attention to a small bag, — perfectly empty, 
inside and out." Turn bag inside out. The egg is 
in the double side. 

"The best way to prove the bag empty is to have 
someone examine it." Have boys hold your arms and 
while doing so you again turn bag inside out, and 
have one of the boys feel in the bag to see that it is 
empty, holding the egg in upper corner of bag dur- 
ing the examination. Close bag, holding it shut with 
the index finger; then say to boy on your left: 

"I wish you would place the chair, the gilded one, 
near to the footlights." The boy looks for chair, but 
sees nothing but an old dilapidated one. You say, 
"That's it." While the boy is moving the chair, 
"Look out! Be careful how you handle antique fur- 
niture." Lay bag on chair. "I also use an egg in 
this eggsperiment. What I use is the blown egg, or 
egg shell. I blow the contents so in case of accident- 
ally dropping one, there will be no disagreeable feat- 
ures connected with the trick." 

Say to the boy on left, "I believe that you are a 
good judge of henfruit. Will you examine the egg 
and see if it is a real egg, or egg shell, as I explained ?" 
Hand egg to the boy, and at the same time turn up 
stage to get your fan and demon handkerchief. "Have 
you examined the egg sufficiently? Then I'll relieve 
you of it." Reach for the egg, and as the boy goes 
to hand it to you give it a pinch, which will cause it 
to fall to the floor and break. This is where you use 
the dried egg shell. Pause — look at egg — look at boy, 
at the same time moving your lips as if saying, "Look 
what you have done! You have spoiled the trick! 



126 The Magic Art 

You little rascal," etc., etc. Look at egg — look at 
boy. Keep a straight face and look serious. Turn 
suddenly and look at the other boy, as much as to say, 
"What are you laughing at?" Look back at first boy, 
at egg, etc., and keep it up as long as there is a big 
laugh, but don't overdo it. 

Then break into a pleasant smile, and say, "Never 
mind the egg. That is why, as I explained a moment 
ago, that I use the blown egg or egg shell. I always 
have twio or three extra ones in case of an accident." 
Take another egg and offer it to the boy, and when 
he reaches for it, draw your hand back and say, "Never 
again I" and give the egg to the other boy to examine, 
at the same time getting the double handkerchief 
ready. 

"Now before I touch the egg, I want you to hold 
my left arm with your right hand, and you hold the 
other one." The boy's dirty hand will stand out be- 
side your clean arm. "I see yoti need Sapolio." Pause 
for laugh. "Now don't allow me to place my hands 
in my pockets. That is the reason why I have you 
hold my arms." Make a bluff to put your hand in 
pocket, and say to boy, "Don't allow me to do that. 
I do it very quickly som.e times." 

Wrap the egg in the handkerchief, giving the 
latter a twist, and hand to the boy on your left, telling 
him to hold it with his fingers under the egg so that 
he will not drop it. Dismiss the other boy, and have 
the remaining boy move over to your right. 

"The reason why I dismissed one of the boys is 
that there is a certain amount of danger in this trick," 
look at boy, "and I do not want to injure any more 
boys than necessary. Now, you have seen the bag 



The Magic Art 127 

examined, proven empty and placed upon the chair; 
and the egg wrapped in a handkerchief and held by 
thisi young man. I am going to cause the egg to dis- 
appear from the handkerchief and to reappear in the 
bag, or at least attempt it." To boy, "Hold the egg 
up high so that we can all see it" — ^pause — "say about 
seven or eight feet, more or less. If you feel a slight 
electric shock, don't jump" — ^pause — "any higher than 
the ceiling." To leader, "A little concerto, please. 
That will do, thank you." While music is playing; go 
through motion of fanning the egg from the hand- 
kerchief toward bag. Shake out handkerchief, quickly 
showing both sides, lay handkerchief and fan on the 
table, and dismiss the boy. 

"The egg has disappeared from the handkerchief, 
as I said it would; therefore it must be wlhere I say 
it is — in the bag." Pick up bag from the chair, arid 
produce the egg from it. If you are pressed for time, 
you may finish the trick at this stage, as you have 
"pulled" all the big laughs. If not, continue: 

"I will do a still more wonderful trick. I'll place 
the egg in the bag, lay the bag on the chair, and then 
at a distance of several feet, cause the egg to disa]^- 
pear from the bag without going near it or touching 
it; a trick that you must admit is wonderful." 

Place the egg in the bag, and withdraw your hand 
awkwardly as if it contained the egg; lay the bag on 
the chair and turn up stage to get your wand, at the 
same time fumble coat tail pocket as if putting the 
egg in the pocket. Advance toward foot-lights, and 
say, "Now I will cause the egg to disappear from the 
bag." 

The audience will let you know that something 



128 The Magic art 

is wrong, at which you pretend embarrassment. "I 
don't believe that you quite understand. I just placed 
the egg in the bag, and I'll cause it to disappear from 
there. That's understood, is it not? It is" — pause 
— "not. Oh, I see what the trouble is. You don't be- 
lieve that the egg is in the bag. Now I would not 
dream for a moment of deceiving anyone. Certainly 
not. There seems to be a doubt as to where the egg is, 
so I will show you once more." You roll the egg out 
of the bag with the Wand. 

"Now if I wish to make the egg disappear, it is 
not necessary to go near a chair or table, or to put 
my hands in my pockets. I'll just place the egg in 
the bag, invert the bag or turn it upside down, and 
the egg is gone!" In the meantime you have slipped 
the egg into the double side of the bag. Turn the 
bag inside out, bang it on the hand, and fold it up 
square. 

"We'll see if we can find the egg." Go into the 
aisle. Have one person on each side of you hold your 
arms, at the same time turn the bag inside out; have 
another party feel in the bag and declare it empty. 
The egg. is held in the upper part of the double side 
until spectator's hand is withdrawn, when it is al- 
lowed to drop to the bottom. You say, "Hold the bag 
yourself." Allow him to hold the bag at the top cor- 
ners with the bag wide open. Be careful here if any- 
one tries to reach into the bag to jerk it away from 
him, in this case again turning it inside out as if as- 
sisting them to show it empty. While the man is 
holding the bag, you say, "You see the bag is perfectly 
empty, and my hands are empty." , Put hand in bag 
and produce the egg, then return to stage. 



The Magic Art 129 

You continue, "now I don't mind showing you 
how the trick is done, and I'll show you how easy it 
is to deceive the public. There is no preparation 
whatever about the bag. Get an egg, make a small 
hole in each end and blow the contents; it makes the 
egg light and easy to handle. That is the real reason 
why I use the blown egg or egg shell. I might say 
that it is an egg-shell-ent trick. Such wit! Then I 
place the egg into the bag" (you palm the egg), "turn 
the bag upside down, and the egg is gone ! The se- 
cret is that I do not allow the egg to remain in the 
bag. I hold it in my hand all the time. See? With 
a little practice you can hold it in the hand without 
any danger of dropping it." Or say, "With a little 
practice and the aid of Le Page's Liquid Glue — I get 
two and a half for that advertisement, — you can hold 
anything in the palm of the hand without dropping it. 

"Then when I have the attention of the audience 
directed on the bag, or elsewhere, I slip the egg under 
my vest. Then I can show my hands empty, turn the 
bag inside out, allow people to examine it, and to hold 
my arms. When I want the egg again, a little pres- 
sure above it with the thumb causes it to drop into my 
hand ; then all that is necessary is to place the hand in 
the bag, turn it over, and produce the egg. Now, 
isn't that simple?" Pause. "I don't believe that 
you quite understand! my explanation. I'll explain 
the trick once more, and so thoroughly that every 
one of you will be a,ble to do it as well as I can do 
it myself, or better. As I said before, I place the 
egg in the bag" — slip it into the pocket of bag — "turn 
the bag upside down and the egg is gone! I don't 
let the egg stay in the bag; I hold it in the hand all 



130 The Magic Akt 

the time. See?" You look in hand, then in the 
other hand, around the floor, and look surprised. "I 
wonder where I laid it." Turn bag inside out, bang 
around, and fold it up. Then produce the egg from 
the bag. "I thank you." Exit. 

I have described one trip into the audience, as 
it is such a splendid effect ana creates a great deal 
of favorable comment. If the performer desires to 
leave this out, he can remain on the stage, manipu- 
late the bag to show it empty, produce the egg there- 
from, and then go into the pretended explanation of 
the trick. 

The Paper Balls and Plates 

This excellent impromptu experiment is based 
on the principle of the cups and balls. Four small 
plates, or saucers, are placed in a row on the table, 
and four pellets of paper (preferably tissue) the size 
of hazel nuts, are formed. The object of the experi- 
ment is to place one of the paper balls under each 
plate, and then to cause them to appear eventually 
under one plate. To make my explanation clear, we 
will number the plates 1, 2, 3 and 4, from left to 
right. 

You begin by placing a ball in front of each plate. 
Exhibit both hands empty, then take the ball that 
is resting in front of Plate No. 1, holding it between 
the tips of the fingers and thumb of the right hand. 
Pick up the plate with the same hand and turn it 
over, leaving the pellet under the plate. Ball No. 2 
is placed under its plate in the same manner. Ball 
No. 3 is apparently placed under the third plate, but 
is really retained between the tips of the fingers, the 



The Magic Art 131 

back of the hand being turned toward the spectators. 
The right hand immediately picks up Plate No. 4, and 
the left hand takes the remaining ball. In placing 
the plate over the fourth ball, the palmed ball is also 
inserted thereunder. The onlookers believe there is 
a ball under each plate, but the balls are actually dis- 
tributed as follows: Two balls under No. 4; noth- 
ing under No. 3; a ball under No. 2; and a ball un- 
der No. 1. 

Now turn over Plate No. 1 with the right hand, 
and take the ball in the left in position for making 
the tourniquet pass. Apparently take the ball in the 
right hand, making a kneading movement with the 
fingers of this hand just above Plate No. 4. With 
this same hand lift the plate, immediately transfer- 
ring it to the left, thus concealing the ball palmed in 
that hand. The spectators see two balls on the table, 
one supposedly having passed through the plate. Re- 
place the plate over the balls, secretly adding the 
palmed ball. 

The same operation is now repeated with the 
ball under Plate No. 2. As there is no ball under 
Plate No. 3, you inform your auditors that you will 
do the trick invisibly. You therefore pretend to re- 
move the ball through the plate without lifting the 
latter, calling attention to the fact that you are hold- 
ing an invisible ball, and then apparently pass it un- 
der Plate No. 4, lifting up both Plates 3 and 4 sim- 
ultaneously. Thus the four pellets are revealed as- 
sembled under the first plate, and only four pellets 
are used. 



132 The Magic Art 

The Chinese Marble Trick 
This clever little trick has a sort of family like- 
ness to the foregoing, in that the marbles are manip- 
ulated at the finger tips on the principle of the cups 
and balls, so I include it here. Neatly executed, it is 
wonderfully deceptive. 

Of the four marbles used, the audience have 
knowledge of the existence of three only. The con- 
jurer exhibits the three marbles, having the fourth 
concealed in the fingers, as in the cup and ball tricli^ 
He proceeds to place the three into his mouth, one 
at a time, and very slowly, in order to show that 
there is no deception. He then forms his left hand 
into a fist, and holds it steadily in front of him, 
thumb upwards. With the right hand he pretends 
to take a marble from the mouth, the concealed one 
being exhibited instead. The action of taking a 
marble from the mouth must be closely imitated, and 
this is best done by rolling it along the lips until it 
travels from the roots of the fingers to their tips. 
The sleight is quickly done, for the eyes of the audi- 
ence are full upon the hand. Place the marble on 
the top of the left hand, that is, on the doubled up 
first finger, which, after a pause, open slightly, per- 
mitting the marble to disappear in the hand. Now 
with the right hand the performer actually takes a 
marble from the mouth, which will now contain two. 
He pretends to place this marble on the left hand, 
as before, but in reality he conceals it in the right. 
When the left hand is momentarily covered with the 
right hand as it feigns to place a marble upon it, the 
first finger is opened, and with a sort of squeezing 
process the first marble is again brought to the top. 



The Magic Art 133 

The audience think that marble No. 1 is in the hand 
and marble No. 2 on top of the fist. After another 
short pause, the marble is allowed to again sink into 
the hand, giving the idea that two marbles are con- 
cealed in it. The conjurer, with the right hand, now 
affects to take another marble from the mouth, the 
concealed one being, of course, shown. In placing 
this marble on the left hand, the same deception as 
before is employed, after which it is allowed to dis- 
appear like its twio supposed predecessors. 

At this stage, the state of affairs will be thus: 
The right hand, presumably empty, contains one mar- 
ble; the left hand contains presumably three, but In 
reality only one marble; the mouth, presumably 
empty, contains two marbles. 

Proceeding with the experiment, the performer 
allows the marble in the left hand to sink until it 
is in the position for concealing at the roots of the 
fingers. If with the tips of the second or third fin- 
gers it can be pressed firmly home, so much the bet- 
ter, for the command to vanish can at once be given, 
and the hand opened, palm downwards, of course. 
If the marble can not be secured in this way, the 
thumb must be brought into use in the usual way, 
but the hand must be waved about a little in order 
to cover the movement. 

The three marbles are mow supposed to have 
vanished. The performer can proceed to find the 
first of them in any manner he pleases, say under 
his coat collar, coat lapel, or in the pocket of a spec- 
tator, etc. As each hand conceals a marble, it is also 
immaterial which one is used. This first marble is 
placed on the table, and another one found, This 



134 The Magic Art 

second one, instead of placing on the table, the per- 
former pretends to pass into his ear, concealing it 
as before, and after a few seconds it appears at his 
lips, the one thence protruding being, of course, one 
of the two concealed in the mouth. The marble is 
permitted to fall from the mouth, and the performer 
then proceeds to find the third marble, which he 
passes, say, through the top of his head. The re- 
maining marble in the mouth is then exhibited, and 
the three wanderers are recovered. 

If the marbles are not small, their presence in 
the mouth, when they are not supposed to be there, 
will be discovered. It is well to conceal one on each 
side of the mouth, between the lower gums and the 
cheek.. Ivory balls are preferable to the marbles. 

The New Spirit Handkerchief 
This is the original method of Mr. Charles Neil 
Smith for working the Dancing (or Spirit) Handker- 
chief in the parlor or upon the stage; and the effect 
is.perf ect, the handkerchief dancing in every direction ; 
forward and back, around in a circle, jumping 
through your encircled arms, etc., and but one con- 
cealed assistant is employed. The method is very sim- 
ple, and Mr. Smith uses the same thread for the 
Thurston Rising Cards, a Doll Levitation, etc. 

First note Fig. 22, which explains the whole se- 
cret. Note that there is one continuous loop of thread 
used (A A), with a weight (B) at the lowest part 
of the loop. This weight, and this side of the room, 
must have some sort of a covering screen, or some- 
thing in front of it so that the assistant working the 
dance will be concealed from view, and at the same 



The Magic Art 



135 



time be enabled to see the performing handkerchief 
from his place of concealment. 

This "safety weight" (B) is simply to keep the 
thread taut and out of harm's way until you are ready 
for the dance. Therefore, the three small screw-eyes 
(C-1, C-2, C-3), through which the thread loop passes, 
are placed at points safely above the performer's head. 



-i->t^ 




Fig. 22 

Of course, the screw-eyes should be as small as 
possible for parlor work. Screw-eye C-1 should be 
concealed in the wall beside of a picture or other wall 
ornament. C-2 and C-3 are behind the folding screen, 
where the assistant stands. If there is a door-open- 
ing to be had in the wall at about this point, these 
two screw-eyes can be put into the door casing. It 
will be noted that the loop of thread passes through 
the three screw-eyes, and the weight is suspended be- 
tween C-2 and C-3. 

When the dance is ready, the assistant removes 
the weight, but not until the handkerchief has been 



136 The Magic Art 

tied around the thread by the performer. Mr. Smith's 
method of getting the thread is, that the assistant 
walks across the room, or stage, with his hand over 
the thread that runs from Screw-eye C-1 to C-3, and 
hooks the thread under a pin on the front of a 
chair back just as Mr. Smith borrows the gentleman's 
handkerchief in the audience. Returning to the stage, 
the performer holds the handkerchief in the right 
hand, and while referring to the experiment about to 
be undertaken, he pushes the chair back in a natural 
manner, as if to give more room for his operations. 
This is done with the hand which holds the handker- 
chief, and it is an easy matter to tie one corner of 
the handkerchief into a knot around the thread as 
you bring the thread away from the chair with you. 

The concealed assistant stands ready at Screw- 
eyes C-2 and C-3, and he leaves the weight on the 
thread till the dance is just ready to start. The even, 
steady pull of the weight on the thread is much easier 
to manipulate while tying the handkerchief, etc., than 
it would be with the assistant pulling the thread. 

The handkerchief is knotted quite tightly on the 
thread, and as soon as the assistant sees that the knot 
is made, he quickly removes the weight, and the per- 
former permits the handkerchief to fall to the floor. 
The assistant now seizes the thread at points D and E, 
below the two screw-eyes, and by pulling on one and 
at the same time releasing the other (a sort of "see- 
sawing" motion), the handkerchief will dance back 
and forth from one side of the room to the other, etc. 
The manipulation of the thread in this manner by 
the assistant should be thoroughly tried out until all 
the possibilities of this method are thoroughly under- 



The Magic Art 137 

stood. The manipulation is very simple when tried 
out with the handkerchief on the thread. 

The precise presentation of the trick is largely a 
matter of experiment and individua,! taste. In order 
to make the handkerchief go backwards, you simply 
back your own body against the, thread, pushing the 
handkerchief along with it. To bring the handker- 
chief forward, towards the audience, »lip your hand 
over the thread and pull it forward. If your left side 
is towards audience, simply let the right hand catch 
the thread, and as though enticing the handkerchief 
forwiard, you also move, aqd as the handkerchief is 
perhaps dancing some six feet away, and two feet 
ba-ck of you, you can easily make it walk forward 
and back without being suspected. By proper manip- 
ulation, it will go around in a circle, etc. 

At the finish the handkerchief arises to your out- 
stretched hand, and the instant you have the knot se- 
curely between your fingers, the assistant breaks the 
thread at Screw-eye C-3, and pulls the other end of 
the thread (at C-2) as fast as possible. This pulls 
the thread clear of the knot, and wlithout a suspicious 
move of any kind you return the handkerchief to its 
owner, still knotted and absolutely unprepared. 

If you have never worked this clever little spir- 
itualistic stunt, you will be more than surprised at 
the wonderful results you can obtain. If you do try 
it, during the experiment put the handkerchief on a 
chair (or command it to leap onto the chair), and 
put a derby hat over it. Then after the hat quivers a 
little bit, and all that, the handkerchief raises the hat 
a little and crawls out. It is the most entertaining 
little byplay, and Mr. Smith has even pinned a little 



138 The Magic Art 

hat on the handkerchief during the dance, and it is 
very funny. He would also have the handkerchief 
answer questions by rapping its "hesad" on the floor, 
etc., and you can secure no end of comedy and real 
mystery. 

What puzzles the "wise" spectator is that the 
handkerchief dances almost over to a bare wall, and 
explodes the old theory and method of a man on each 
end of the thread. 

Gloves to Dove 

In his excellent book, "The Dramatic Art of 
Magic," Mr. Louis C. Haley describes a very effective 
transformation of gloves into a dove. The trick has 
been a favorite of mine for some years, and as I have 
simplified the working of it, I am including its de- 
scription here. 

The effect of the trick is this: The performer 
makes his entrance, gloves in hand. He rolls them 
up and makes a throwing motion over the heads of 
the spectators, when the gloves change into a dove. 
The transformation is so sudden, appearing to take 
place some distance in front of the conjurer, that it 
is really startling. 

In Mr. Haley's version of the trick he employed 
a pull for effecting the disappearance of the gloves. 
After using the trick for some time, I dispensed with 
the pull, as I personally found it needless. In arrang- 
ing the trick, a small dove is taken in the right hand, 
after which the performer is assisted in putting on 
his coat. The dove is left in a position along the 
forearm, inside the coat sleeve, and it will be found 
to facilitate the performance if the shirt sleeve is 
turned back above the elbow. 



The Magic Art 139 

At one time I bred many of the little white 
Japanese doves, which are peculiarly adapted to mag- 
ical purposes, as they are very gentle, and will remain 
perched almost anywhere. Their small size also 
makes them preferable to the common pigeon for 
conjuring. I always use one of these little Jap doves 
for the glove trick, and it goes into the sleeve easily. 

When I make my entrance, I carry the gloves in 
my left hand, my right . forearm being bent slightly 
before the body to insure the dove remaining in his 
place of concealment. I now roll the gloves into a 
compact parcel, and apparently seize the latter in 
the right hand, immediately making a quick upward 
throw with that hand. It is astonishing the distance 
that a bird can be thrown when tossed out of the 
sleeve in this manner. My Jap dove will generally 
recover his wings within ten or fifteen feet in front 
of me, with only a light toss. He will flutter in mid- 
air a moment and generally return to a perching posi- 
tion on my hand. 

When I apparently toss the gloves into the air, 
I really palm the parcel in my left, of course. . Now I 
learned in actual practice that the eyes of my spec- 
tators are so taken up with the startling transforma- 
tion taking place before them, that I have ample op- 
portunity to drop the gloves into my pocket without 
the least danger of detection. 

I have used this dove trick in double parlors, in 
which case I substitute a white silk handkerchief for 
the gloves, as being more appropriate to the occasion. 
In this case I make my entrance with the handker- 
chief tucked into the outside upper pocket of my coat, 
and while making my opening remarks I seize a cor- 



140 The Magic Art 

ner of the silk and jerk it from the pocket, drawing 
it through my hands several times, and then causing 
it to disappear by means of the "roll vanish," but as 
before I have the dove in my right sleeve and the silk 
is palmed in the left hand. I do not know of a more 
effective opening trick than the gloves to dove trans- 
formation. 
> The Dove and Hat Trick 

This trick follows the foregoing so nicely that 
the combination of the two creates a very fine effect. 
No originality is claimed for the trick; in fact, it is 
one of Herrmann's variations of the Rabbit Trick. 

When I have transformed the gloves (or hand- 
kerchief) into the dove, and the latter has returned 
to my hand, I carry it to the center table, upon which 
rests a hat. Now projecting from the back of this 
table is a perch four or five inches long, for the ac- 
commodation of a second little Jap dove. If this 
bird is perched behind the table a little while before 
the opening of the performance, he will settle down 
contentedly and never reveal his hiding place. 

Upon one of the side stands rests a drawer-box, 
whose inner dimensions are sufficient to accommo' 
date a dove. When I carry the dove to the center 
table, I lift the hat, showing it empty, immediately 
replacing it, crown upwards, over the dove. Then 
I change my mind, and apparently take the dove from 
under the hat. As a matter of fact, I tilt the edge 
of the hat that is nearest the rear edge of the table, 
and bring up the dove that is roosting upon the hid- 
den perch. Properly performed, the sharpest eye can 
not detect the substitution. The hat is lowered, leav- 
ing the first dove thereunder, while Dove No. 2 is 



The Magic Art 141 

carried to the side stand and placed in the drawer- 
box. I say, "Now, if you watch me very closely, you 
will see the dove fly out of the box, and back to the 
hat." The box is opened, and its interior shown 
empty. The dove has disappeared. Walking over 
to the hat upon the center table, it is lifted and the 
bird revealed thereunder. 

■ The Contrary Fluids 

This novel wine and water trick is an arrange- 
ment of my own. I have never heard of any simi- 
lar arrangement, and can recommend it as a pleas- 
ing variation from the usual run of tricks of this 
nature. 

Upon each of two side stands is a tray of glasses 
and a glass pitcher, the one pitcher containing water, 
the other pitcher containing wine. A lady assistant, 
holding a large covering cloth, stands to the right 
of stage as the curtain rises. 

The performer makes his entrance, delivers his 
opening remarks (unless he works to music), and, 
seizing the large covering cloth from his assistant, 
produces a bowl of water and goldfish. The assist- 
ant relieves him of this bowl, when the performer pro- 
duces a second similar bowl. 

The conjurer then states: "Ladies and gentle- 
men, it shall be our pleasure to demonstrate to you 
this evening one of the most astounding problems 
ever witnessed. We call it Precipitation Extraor- 
dinary, or the Contrary Fluids. Upon this stand you 
see a pitcher of plain, everyday water, and a few 
glasses. Upon the other stand, a pitcher of red wine, 
and some more glasses. To all appearances, nothing 
could be more commonplace, but wait a moment." 



142 The Magic Art 

The lady assistant has walked forward to a po- 
sition behind the stand upon which rests the pitcher 
of water. 

Performer: "The lady prefers the water, you 
notice, so I am left the wine. Lucky fellow! Pure 
sparkling wine ! The nectar of the gods !" lifting the 
pitcher. 

Assistant: "Pure sparkling water! The em- 
blem of sobriety!" lifting her pitcher. 

"The emblem of sobriety!" scoffs the performer. 
"I put no stock in that stuff." 

"Watered stock!" declares the lady. 

Performer pours a glass of wine and tastes it ; the 
lady pours a glass of water, ditto. 

Performer: "Ladies are always contrary; now 
if she had the wine, and / had the water, it would make 
a world of difference." 

Lady stamps her foot. 

Performer: "Very well; we shall see." He 
fills a second glass from the pitcher, but the fluid 
proves to be water instead of wine. 

The lady pours water from her pitcher into a 
second glass, and it turns to red wine. Performer 
beams; lady pouts. 

Performer: "Oh, very well; have your way," 
pouring into a third glass wine, while the lady pours 
water. "They say Fun, Deviltry and Death lurk in 
the wine cup." 

"Yes," responds the lady, "and headache!" 

"Let's mix a cocktail," suggests performer. He 
pours a portion of his wine into the lady's glass of 
water, and she pours back, resulting in clear water 
in both glasses. 



The Magic Art 143 

"It's the female of the species!" cries the per- 
former, and forthwith dashes all three glasses of fluid 
back into his pitcher. The result is water in the 
pitcher instead of wine. 

The lady, at the same time, returns her three 
glasses to her pitcher, and obtains all wine. She re- 
fills the three glasses with wine, filling a fourth with 
water. The performer re-fills three glasses with wa- 
ter, and obtains wine in a fourth. 

Finally, the contents of all the glasses are re- 
turned to the pitchers, the performer having red wine, 
and the lady clear water, as in the beginning. 

The trick is simply a double arrangement of your 
own particular Wine and Water formula. In pre- 
paring it, the pitcher of water and its accompanying 
glasses are chemically arranged according to your 
system; while the other pitcher and glasses are pre- 
pared in reverse order, to enable the start with wine. 
A little experimenting may be found necessary to ob- 
tain the proper results. 

An effective termination of the trick would be 
a wine and water separation, such as "A Chinese 
Paradox," described in Chapter 2. 

The David BEiiL Funnel 

This is an ingenious arrangement of Mr. David 
Bell's, by means of which any magic funnel may be 
filled with water (or other fluid) beforehand, and 
safely carried in one's baggage without fear of leak- 
age. 

The funnel itself is the standard double affair, 
but it is provided with two air-holes instead qf one. 
The usual air-hole is found at the top of the handle 
for controlling the fluid contents of the funnel, while 



144 The Magic Art 

the second, smaller air-hole (not over a sixteenth of 
an inch) is made just below the handle and inside the 
funnel. 

In order to fill the funnel, and prevent subse- 
quent leakage, a small cork is pushed into the lower 
end of the spout, and a large cork is inserted at the 
upper end of the spout, inside the funnel. A second, 
smaller funnel, with a spout that will enter the larger 
air-hole in the handle of the trick funnel, is employed 
for filling the latter. The air-hole inside the funnel 
permits the fluid to enter the double funnel with the 
corks in place, and when filled the small funnel is 
laid aside and the smaller air-hole carefully stopped 
with a pellet of wax. The larger air-hole in the handle 
is likewise stopped in the usual manner. 

Thus prepared, the funnel may be safely packed 
in one's luggage without fear of leajcage ; and upon 
setting up the show it is only necessary to remove the 
corks and the funnel is ready for business. 

Mr. Bell has also communicated to me the very 
latest miethod of stopping the air-hole in an apparatus 
of this kind. A small piece of surgical adhesive tape 
is employed, and one end of the tape should be rolled, 
a little, which enables the thumb to roll the tape off 
the; air-hole' with ease. The metal surface around the 
' air-hole should be wiped perfectly dry before apply- 
ing the adhesive tape, to insure perfect results. Con- 
jurer's wax will be found the best for stopping the 
small air-hole inside the funnel, and is never noticed. 

While on the subject of the magic funnel, another 
very satisfactory method of stopping air-holes is to 
use a small disc of very thin celluloid, say a quarter 
pf an inch in diameter, or slightly large? than the 



The Magic Art ' 145 

hole it is intended to cover. Smear one side of the disc 
with wax, and place same over the hole, waxed side 
uppermost, after which the wax is pressed firmly over 
the edges of the disc, effectually closing the hole, yet 
easily dislodged with the thumb nail when desired. 
One of the most effective methods for presenting 
the magic funnel to an audience is the following: 
When a boy is invited upon the stage to assist in the 
trick, he is given a glass of water. The conjurer, 
lacking another glass, takes the funnel, and placing 
his forefinger under the spout, fills the funnel with 
water from a pitcher. The boy is invited to drink the 
water in the glass, while the performer drinks from 
the funnel. The boy will not hesitate to drink if he 
sees the conjurer doing likewise, and the filling of 
the funnel with water not only impresses the spec- 
tators with the idea that the funnel is unprepared, but 
likewise accounts, later on, for any drops of water 
which may work out of the double compartment in 
handling, which often occurs wiiere the fluid is held 
by air pressure. After the boy drinks the water, the 
funnel is employed to apparently draw it out of his 
elbow. 

The Watch and Pill Boxes 

This is a capital parlor trick, demanding the min- 
imum of skill. The conjurer borrows a watch and 
wraps it in a handkerchief, giving this to a lady to 
hold. He then brings forward an oblong box which 
he opens, taking out of it twelve or fifteen pill boxes, 
which he places on the table beside the large box. 
The lady is then requested to determine, by placing 
her ear to the handkerchief, if the Watch is still run- 
ning, and answers in the affirmative. The entertainer 



146 The Magic Art 

then opens each pill box and closes it again, showing 
that each one is empty. The large box, which con- 
tained the small ones, is then placed aside, and the 
lady requested to choose one of the pill boxes. She 
decides upon any one of them, whereupon the per- 
former takes the handkerchief from her possession, 
shakes it out, and shows that the watch has disap- 
peared. Upon opening the selected pill box, the watch 
is found inside. 

The handkerchief in which the watch is wrapped 
is a prepared double one, inside of which an old watch, 
in running order, is suspended by mieans of four thin 
ribbons sewed to each corner of the inside of the 
double handkerchief. In the act of wrapping up the 
borrowed watch, the performer palms it, showing in 
its stead the shape of the watch concealed in the pre- 
pared handkerchief. He then goes to a table placed 
rather back in that part of the room which serves as 
the stage, and brings forward the box containing the 
pill boxes.' 

The large box is prepared by cutting in its bot- 
tom a round hole of the circumference of a pill box. 
A bottomless pill box, a shade larger than the other 
pill boxes, is glued over this hole. One of the jtill 
boxes, with its cover off and resting beside it, is con- 
cealed behind the box on the table, and when the con- 
jurer goes back to the table for the large box, he 
quickly slips the borrowed watch into the concealed 
pill box, puts on the lid, and as he lifts the large box 
from the table, he pushes the pill box containing the 
watch into the hole in the bottom of the large box, 
retaining it there with the fingers of his right hand. 

The large box is brought forward to a convenient 



The Magic Art 147 

side stand, and the pill boxes taken out and shown 
empty as described. Finally, in lifting the large box 
from the table to place it aside, the pill box contain- 
ing the watch remains on the table, behind the other 
pill boxes, the secret addition of one more box to the 
lot not being noticed. 

By the use' of the well knowft alternative, "Whicli 
box shall I take?" and "your right and my left," the 
conjurer forces the choice of the prepared box upon 
the lady. He then shakes out the handkerchief, re- 
vealing, apparently, the disappearance of the watch, 
after which the latter is discovered in the selected pill 
box, 
^ Another method of forcing the choice of the pre- 
pared box on the lady is to place all the boxes on a 
tray, allowing this box to occupy the most conspicu- 
ous position. The lady will generally choose this box, 
especially as the entertainer, by adroit manipulation 
of the tray, practically compels her to do so. 

My own method for forcing the choice of the pill 
box containing the borrowed watch is as follows: 
Each of the pill boxes is boldly numbered on its cover 
with figures cut from an old calendar. In connection 
with same I employ a pack of numbered cards, which 
is arranged after the manner of the so-called "self- 
forcing" pack. Thus, while this deck can apparently 
be shown to consist of all different numbered cards, 
it readily "forces" a particular number upon the un- 
suspecting spectator who selects a card therefrom. 
It therefore follows that, if the "force card" of this 
pack is, say. No. 10, the pill box wihich I conceal be- 
hind the large box in readiness for the trick bears 
the same number upon its lid. When the trick reaches 



148 The Magic Art 

the stage where the lady selects one of the pill boxes, 
I bring the latter forward on a tray, together with 
the numbered forcing pack. From the latter the lady 
takes a card, and when she has noted same, I lift the 
pill box bearing such number from the tray, and hold- 
ing it at the finger tips of the left hand^ sei?;e a cor- 
ner of the handkere'hief concealing the watch, and 
shake it out, revealing the complete disappearance of 
the time-piece. The pill box is the:ni handed to the 
lady, who opens it and finds therein the missing watch. 

A borrowed ring or two instead of the watch may 
be employed for this trick with equally good effect, 
and perhaps less difficulty. In this case, one or two 
cheap rings are sewn in one corner of the hem of a 
rather large handkerchief, and in apparently wrap- 
ping the borrowed rings therein, they are concealed in 
the hand and the substitute rings are held by the spec- 
tator instead. 

The Mysterious Dove Pans 

Two dove pans of neat design are shown empty 
and placed upon separate tables. In the one pan is 
placed a silk American flag," after which the lid is 
placed on this pan. Into the second pan is placed a 
dove, and this pan likewise covered. A transposition 
now takes place. Upon removing the lid of the first 
pan, which originally contained the flag, the dove is 
found; while the second pan now contains the flag 
instead of the dove. Both lids may be shown empty. 
While the above patriotic effect makes a very pretty 
trick, the practical magician will readily appreciate 
the possibilities of this fine principle. When I first 
hit upon the idea some years ago, I used it for the 
invisible transposition of a black and a white rabbit. 



The Magic AltT 



149 



One of the dove pans is constructed in a manner 
familiar to all magicians. I will call this pan "A." 
The second dove pan, which I will designate as "B," 
is the same type, but has the bottom cut out of the 
pan proper, leaving, however, a rim about one inch 




wide around the edge of the pan. A loose disc of tin, 
with which to cover the bottom opening, accompanies 
this pan. 



150 The Magic Art 

One of the tables upon which the trick is worked 
is provided with a drape and there is a circular open- 
ing in the table top corresponding in diameter to the 
opening in the pan (B). The opening in the table 
top is disguised by means of a Black Art design. 

In arranging the trick for presentation, the con- 
jurer places his wand just in front of the opening 
in the table top, for a reason presently explained. 
The one pan (A) is prepared by placing a dove in the 
inner pan, and the latter locked in its lid. The sec- 
ond pan (B) has a flag placed in its inner pan, and 
this is locked in the lid in a similar manner. The 
two pans and their covers are placed upon one table, 
the pan (B) resting over a little cube of wood, or 
similar article, which serves to hold the loose disc of 
tin against the bottom of this pan, thus covering the 
opening in the latter. 

In presenting the trick, the conjurer first seizes 
pan (B) and shows it empty, the fingers retaining 
the loose bottom in place. With the opposite hand 
pan (A) is next exhibited, while the first pan is 
lowered sufficiently behind the table to dispense with 
the loose disc in the servante. Pan (A) is replaced 
upon this table, while pan (B) is carried over to the 
table provided with the opening in the top. . The pan 
is placed directly over the opening, behind the wand. 
The flag and dove are next introduced, and the for- 
mer deposited in the first pan (A) , after which the 
lid is placed on this pan. The dove is carried over to 
the second table, and dropped into the second pan 
(B). Of course, the bird goes directly through the 
p^n into the box top of the table, and to prevent this 
fact being discovered by the audience, the performer 



The Magic Art 151 

claps the lid on the pan the instant he drops the dove 
therein. As the pans are mounted upon claw feet, 
the presence of the wand in front of the opening in 
the table top effectually masks the passage of the dove 
through the pan into the table. 

Upon lifting the covers, the dove is found in t)an 
(A) and the flag in pan (B), and the inside of both 
pans may be freely shown. (See Fig. 23.) 

Many other mysterious combinations are pos- 
sible. In the standard type of dove pan, only the 
most flat objects can first be deposited in the pan 
before the transformation takes place. In the above 
idea, any object such as a dove, guinea pig, rabbit, an 
orange, etc., may first be placed In the pan, immedi- 
ately changing to any object of similar size. 

The Tale op a Rat 

"For my next experiment," begins the conjurer, 
"I shall have to borrow several ladies' rings. Now- 
adays, a magician is looked upon v|/ith such unkind 
suspicions that, to protect his reputation, he is com- 
pelled to use borrowed articles as much as possible. 
And then, too, from a purely selfish standpoint, it is 
so much better (for the magician, at least) to use 
other people's property should anything go wrong.'' 

He steps into the audience, wand in hand, and 
obtains three rings, which the owners are requested 
to slip on the end of the wand. Returning to the 
stage, he places the wand on top of a glass, the better 
to keep the borrowed rings in view of everyone. 

"When anyone reposes such perfect confidence in 
me, as these ladies have in the loan of their rings, I 
always take special pains to look after their property. 
I am going to deposit the rings in this paper bag." 



152 The Magic Art 

He opens and shows the bag quite empty. Hold- 
ing the bag under the end of the wand on the glass, 
he pushes the rings, one after the other, into the bag, 
saying, "there goes the little wedding ring; next the 
diamond, and last the emerald," or whatever sort of 
rings they may be. With his free hand he lifts the 
lid off a large crystal jar standing upon the table, and 
deposits the paper bag therein, remarking, "now they 
will be quite safe." 

A little mahogany case, containing a drawer, is 
next brought forward from one of the side stands. 
The entertainer lifts out of it a live white rat. 

"There is' an interesting tale connected with this- 
— ^box, not the rat. As a matter of fact, this little 
box was presented to me by the Emperor of Japan. 
The Japanese call it the Wanderer's Box, because it 
possesses: the unique power of attracting to it anything 
that has been lost by its possessor. Some of you look 
incredulous, but I can assure you that I am perfectly 
serious about the matter. I don't mean to say that 
if one of these ladies who loaned me her ring pos- 
sessed this box, she could immediately cause her prop- 
erty to return to it. It all depends upon this little 
pink-eyed rat, — and the whistle." The entertainer 
takes a small whistle from his pocket and blows it. 
"Now you have probably guessed the formula. The 
rat is sent after the missing articles, the wihistle is 
blown, and everything immediately flies to the box. 
Isn't it simple? Well, we shall see." To a boy down 
front, "Here, young man, you hold the magic wliistle. 
Better step right up here, and, mind you, don't hlo'vi 
the whistle till I tell you. You would get everything 
all messed up if you did." 



The Magic Art 153 

The conjurer continues: "As we already know 
wliere the ladies' rings are at present, we will just 
deposit Mr. Rat in the bag with the rings." He re- 
moves the paper bag from the crystal jar, shakes it 
up to prove the presence of the rings therein, and 
then drops the rat in. Twisting up the mouth of the 
bag, the performer places it back in the jar, and 
claps on the lid. He then carries the jar over to one 
of the side stands, close to the front, so that everybody 
can keep an eye on it. 

To the boy, "We are getting on famously. You 
saw me put the rings and the rat in the bag, and the 
bag in the jar. I guess that's perfectly clear to every- 
body. You have the whistle, so I'll hold the Wan- 
derer's Box." He picks up the mahogany box, pull- 
ing out the drawer and showing the interior perfectly 
empty, then closing it. 

"Now — attention, please. When I count three, I 
want you to blow the whistle. Be sure you don't 
blow it before! One — two — ^three!" 

When the boy blows the whistle, the latter makes 
no sound, the boy receiving a cloud of flour in his 
face instead. 

"Goodness!" exclaims the conjurer, "I forgot to 
tell you that the whistle must be held in the left hand, 
alvjays! And you were facing the moon! Never 
face the moon when you blow the magic whistle. Now, 
that's better. One — ^two — ^three!" 

The boy blows the whistle. "Fine!" says the 
performer. "That's much better. Did you see the 
rings fly into the box? No? Well, they travel so 
fast it is almost impossible to see them." He relieves 
the boy of the whistle, and dismisses him. Returning 



154 The Magic Art 

to the box on the table, he pulls out the drawer, turn- 
ing it on edge to reveal it filled to the brim with bou- 
quets. As a matter of fact, the box contains just two 
of these bouquets, to the stem of each of 'which is ^- 
tached one of the borrowed rings, which are thUs 
returned to their owners. 

The performer apparently overlooks the fact that 
a third ring is missing, for he shows the box empty, 
then walks over to the crystal jar and removes th^ 
paper bag therefrom. The bag is empty. 

Retiring for a moment, the performer returns 
with a bottle of wine and a glass on a tray, which he 
places on the table. He carries the bottle and glass 
into the audience, inviting several spectators to sam- 
ple "the rare old vintage." While this is going on, 
the conjurer suddenly recalls that three rings were 
borrowed, and but two returned to their owners. Of- 
fering his apologies to the lady, he hastens to the stage 
and affects a search for the missing ring. Finally, 
he taps the bottle with a hammer, completely shat- 
tering it, and revealing therein the missing white rat, 
with the lady's borrowed ring attached to a ribbon 
round the animal's neck. 

The novel part of this neat combination rests in 
the fact that it can be performed without an assistant. 
Like other tricks with live stock, it will be found ap- 
propriate for a children's programme, and borrowed 
articles other than rings may be employed to suit the 
occasion. 

The requisites are as under: 

The Crystal Jar, with metal mirror partition. 

A Drawer Box, of medium size. 

Two paper bags, of similar size and appearance. 



The Magic Abt 155 

The Magic Whistle. As above described, this is 
the so-called "Torpedo Whistle," which may be se- 
cretly adjusted at pleasure either to blow "all fair," 
or to blow flour in the operator's face. The flour epi- 
sode may be omitted if desired, and any ordinary 
whistle employed in its place. 

Two small bouquets, either real or artificial, tied 
with narrow ribbon, to each of which is attached a 
small hook, which is best formed out of soft wire for 
a reason presently explained. 

A short piece of narrow ribbon, with a similar 
hook knotted in the middle of same. 

Two live white rats. 

A Dove Bottle, of the Windecker type. 

A wine glass, tray and small hammer. 

A wand with three "dummy" rings slipped on 
one end. 

To prepare the trick, the mirror jar is placed on 
the center table with one of the empty bags, partly 
inflated and the top twisted up, concealed behind the 
mirror partition. The duplicate bag is placed in view 
on same table. 

The drawer box is placed on the side stand on 
performer's right. The inner drawer contains the 
two bouquets, the hooks on the stems of the flowers 
being arranged in proper position for finding quickly. 
The outer drawer of the box is left open, and one of 
the white rats is placed in this. 

Off stage, the other white rat has the piece of 
ribbon which carries the hook attached to its neck. 
The dove bottle is left separated, and the neck is filled' 
with a small quantity of grape juice or any other sub- 



156 The Magic Art 

stitute for wine. The wine glass and hammer are in 
readiness upon the tray. 

The .performer slips the magic whistle in his vest 
pocket, and comes forward with the wand in his right 
hand, the fingers conceahng the three dummy rings. 
The borrowed rings are received on the opposite end 
of the wand, and the usual exchange effected as the 
performer turns to go back to the stage. The wand 
with the dummy rings upon it is laid across a goblet 
or any convenient object on the center table, while 
the borrowed rings are retained, for the time being, 
in the left hand. The bag is opened out and the 
(dummy) rings dropped into it, after w*hich it is de- 
posited in the front compartment of the crystal jar. 

The drawer box is taken from the side stand and 
the white rat removed therefrom, after which the 
drawer is shown empty and closed. In replacing the 
box upon the side stand, the borrowed rings are left 
behind it. 

The magic whistle is here introduced, and a boy 
brought up from the audience to operate it. The rat 
is placed in the bag with the rings, and deposited in 
the crystal jar, after which the lid is put on and the 
jar carried to the left side stand, which little journey 
enables the conjurer to effect the necessary half -turn 
of the jar. 

The conjurer takes up a position by the right side 
stand, and while directing the boy with respect to the 
magic whistle, he picks up the borrowed rings, from 
behind the drawer box with his right hand, immedi- 
ately taking the box in this hand. He pulls out the 
outer drawer and shows the box apparently empty, 
then closes it again. The boy blows the whistle and 



The Magic Art 157 

covers his face with flour, after which the performer 
secretly closes the plunger of the whistle, and re- 
quests him to try it again. This time the whistle 
blows ; the boy is dismissed, and the performer opens 
the box, showing it filled with bouquets. As he in- 
serts his right hand into the box, he quickly passes 
one of the borrowed rings onto the hook on bouquet, 
and presses the soft wire together, effectually fasten- 
ing the ring. The bouquet is passed down to the 
owner of the ring, and while thanking her for the loan 
the performer again inserts his hand in the box and 
attaches a second borrowed ring onto the hook of the 
remaining bouquet, which is thus returned to its 
owner. 

The conjurer now retires for a moment, carrying 
the third borrowed ring with him. This ring is 
quickly snapped on the hook on the rat's neck, and 
the rat is placed in the bottle and the top screwed on. 
The performer returns to the stage, bearing the tray 
with the bottle, glass and hammer. H'e makes a pre- 
tense of serving the liquor in the audience, and the 
discovery of one ring being missing, the trick being 
brought to a conclusion by the breaking of the bottle 
and the discovery of the white rat, bearing the ring 
on its neck, therein. 

The Tea Chests op Wang Foo 

This is one of the Wang Foo Mysteries, developed 
by the author, and it will be found a real novelty in 
this particular branch of conjuring. The execution 
is clean, demanding the minimum of skill, and the 
effect all that could be desired. The simple story 
provides' the necessary misdirection for the essential 



158 The Magic Art 

moves in the trick; in fact, without it the effect 
would be more or less commonplace. 

For convenience in making my explanation clear 
later on, I shall insert a number at each point at 
which the performer has something to do that is not 
known to the audience. 

The conjurer carries into the audience a small 
tray, on which are arranged three small tea chests, 
richly laquered in gold, and a tall square tube of oii- 
ental design (see frontispiece), which passes easily 
over the tea chests when they are stacked one upon 
the other. The lids of these little chests are open, re- 
vealing in the first Chinese Keemun tea leaves, in the 
second Pekoe tea leaves, while the third chest con- 
tains three exquisitely colored pieces of silk, — green, 
old rose and orange, respectively. The spectators are 
invited to satisfy themselves that the contents of the 
chests are exactly what they are represented to be, 
and that there is no specialty either about the chests 
or the tube. 

Upon the magician's center table is placed a small 
box filled with colored confetti. In view upon one of 
the side stands is a small tumbler, an Oriental candle 
in its candle-stick, a paper cornucopia, and a colored 
silk handkerchief is thrown over the corner of this 
table. 

When the performer has convinced his auditors 
that the three little tea chests and chimney-shaped 
cover are free from deception, he carries them back 
to the stage, and places them upon the center table. 
He begins: 

"These little tea chests, ladies and gentlemen, 
were once the property of a crafty old Chinese man- 



The Magic Art 159 

darin, Wang Foo. I need not tell you bow the chests 
came into my possession, for what we are concerned 
with at this moment is their strange history, and I 
think you will, find it interesting. I have shown you 
this little chest is filled to the brim with Chinese 
Keemun, or black, tea ; the second chest with the leaves 
of the Pekoe tea; while the third chest is filled with 
silk, — rare old oriental silk! What gorgeous hues! 
(1) Now you might suppose Wang Foo prized these 
silks for their beauty, if not their value; but such 
was not the case. As a matter of fact, this wise old 
Mongolian had discovered strange magic in their 
weave, and so he took precautions to protect them 
from theft. 1 notice that some of you are not accepts 
ing my statements literally, as I had intended you 
should ; but I forgive you because I have not yet given 
a practical demonstration of their mysterious qualities. 

"Like all high-caste Chinese, old Wang Foo em- 
ployed many coolies as servants in his household, and 
these coolies were the source of considerable annoy- 
ance to Wang Foo, so he was ever devising new 
schemes for protecting his valuables. He hid them 
in all sorts of unexpected places. His silks he kept 
in this little tea chest, just as you see them now," 
showing the silks in Chest No. 3, "and he always kept 
this particular chest on the bottom of the stack, and 
covered it with this long tube." 

The three chests are stacked accordingly, and the 
chimney cover dropped over them, by way of illus- 
tration. 

"Things went along for a time very well. Old 
Wang Foo's treasured silks were unmolested, and he 
was congratulating himself upon his craftiness. But 



160 . The Magic Art 

he overlooked one member of his household, — Song 
Foy, the house boy, who one day, by the merest chance, 
witnessed, an exhibition of his master's mysterious 
magic, unseen. I will show you just what Song Foy 
witnessed. He saw Wang Foo lift the tube and open 
the three little chests, — Keemun, — Pekoe, — and then 
the beautiful silks. (2) Wang Foo drew each silk 
over his forearm, — ^the green, old rose, and the orange ; 
after which he touched them impressively wjth a 
wand, and presently thrust them into a little cornu- 
copia of paper. After considerable chanting (which 
I am not prepared to repeat for your benefit), Wang 
Foo opened the cornucopia, and — Song Foy could 
scarcely believe his eyes, — the beautiful silks had 
vanished ! 

"But Wang Foo was not yet through with this 
marvelous experiment. He took the candle and care- 
fully wrapped it in a bit of paper, like this, twisting 
it up until the parcel bursted, — and now you see just 
what Song Foy saw, — ^the missing pieces of silk!" (3) 

The performer produces from the parcel the 
green and old rose colored silks, only, in place of the 
candle, drawing them over his forearm as before. 

"And the candle, — well, in jUst a moment Wang 
Foo found that, still burning, in the folds of his 
robe (4)." To a spectator, "I beg your pardon ! The 
orange-colored silk! Quite right, it seems to be miss- 
ing. Things are getting a bit mysterious around here. 
Suppose — ^now I have it! You will remember it was 
burnt orange, so it must still be in the candle!" pro- 
ducing the missing silk from the- candle flam*. 

"When Wang Foo had completed his mysterious 
performance, he carefully packed the silks in their 



The Magic Art 161 

chest, and put it at the bottom of the stack (5). Bid- 
ing his time, Song Foy slipped into the room, lifted 
the cover very cautiously," the performer suiting the 
action to the words, "and peeping into each chest, 
finally located the silks in the bottom one (6). 

"But just as Song Foy seized the chest of silks 
he heard the footsteps of Wang Foo approaching, and 
in great fright he quickly thrust first the one chest 
of tea, then the other, and last of all the chest of silks, 
into the tube (7), and, in plain English, beat it with 
all haste. You will bear in mind that he left the chest 
of silks on top of the stack, and it occurred to him that 
that was a pretty good thing after all, for when things 
quieted down in the house that night, he had only to 
slip in and seize the uppermost chest, containing the 
magic silks. So he hung around in sight of the chests 
all day, and was sure that no one had tampered with 
them. You can judge of his surprise that night 
whien, upon lifting the cover (8), and opening the top- 
most chest, he found tea instead of silk. You can see 
for yourself. Song Foy found the Keemun tea in the 
first; the Pekoe in the second; and at the bottom of 
the stack the chest of silks. Utterly dumbfounded 
by this strange magic of the tea chests, the terrified 
Chinaman hurriedly tossed the boxes back into the 
tube, and ran off. But, mind you, he was wise enough 
to again leave the chest of silks on the top of the 
stack (9). 

"Well, sir, after that first experience, you may 
be sure Song Foy never permitted that stack of tea 
chests to leave his sight for a single instant. He 
wanted one more try at the chests before he would 
be convinced that the witches were working against 



162 The Magic Art 

him. So presently he slipped back and again lifted 
the cover. Whong-poy-sow ! Tea in the top chest 
again; tea in the second; and the silks snugly repos- 
ing in the bottom chest as before (10) ! 

"With the very witches staring him in the face, 
Song Foy seized the chest of silks and tucked them 
into the first thing handy, — into this tumbler, for 
instance; and for the double purpose of filling the 
chest to hide his crime for the time being, as well 
as to dispel the witches, he filled the chest with josh- 
paper (11). Then he quickly dumped the boxes back 
into the cover, — ^mind you, the Josh-box first, — ^then 
the Keemun, and then the Pekoe chest on top; and 
throwing a cloth over the silks, he beat a hasty retreat 
to his own quarters (12.)" 

The performer pauses, then continues: "The 
ending of this unusual tale is very, very sad. If there 
are any ladies present who do not feel able to listen, 
they will be excused before I proceed. Well, when 
little* Song Foy got to his quarters, he thought he 
would examine his ill-gotten gain, so he lifted the 
cloth, and — would you believe it! (13) The magic of 
old Wang Foo has again been at work, for the silks 
have changed to the josh-paper," w'hich is now shown 
in the glass, "and if we examine the stack of tea 
chests," lifting the chimney tube, "we find the Kee- 
mun tea on the top ; then the Pekoe, and," opening the 
third chest, "you see the wonderful silks have invisibly 
returned to the bottom chest." (14.) 

The root idea of this interesting trick is based 
upon that of the "Bewildering Blocks," as explained 
)3y Professor Hoffmann in his book, "Latest Magic." 



The Magic Art 163 

•As in that trick, a fourth tea chest, exactly resembling 
the other three, is secretly employed in my own ver- 
sion, and this fourth chest contains three duplicate 
silks, — green, old rose and orange. The chests are 
three inches square. They are richly lacquered in 
gold externally, the interior being finished dead black. 

There is no ornamental decoration on the tea 
chests, except on the front of each, and this consists 
of a single Chinese character in black, which best har- 
monizes with the gold. Of the three chests which are 
first brought to the notice of the audience, this 
Chinese character is different on each chest; but the 
fourth chest, containing the duplicate silks, and of the' 
presence of which the audience have no knowledge, 
bears a similar Chinese character to that found upon 
the other chest of silks. Thus, the ornamentation on 
the front of the chests not only serves as a sort of 
identification mark in following the mysterious move- 
ments of the tea chests (in addition to their particular 
contents), but also serves to point out to the con- 
jurer, during the performance of the trick, the loca- 
tion of the front edge of the lid of each chest, a very 
great convenience in actual performance. 

To prepare the trick, the three tea chests are 
arranged in a row upon the tray, the lids being open 
so that their contents are displayed. One of the 
chests is filled with black tea leaves ("Keemun"), 
another with green tea leaves (' Pekoe"), while three 
pieces of silk are in the third. The chimney tube, 
which contains no specialty other than that it is suf- 
ficiently high to accommodate all four of the tea 
chests in a stack, with possibly an inch to spare, ja 
placed behind the chests upon the tray. 



164 The Magic Abt 

A shallow box or basket, filled with colored con- 
fetti, is on the center table. The dimensions of the 
confetti box are immaterial, so long as it is suffi- 
ciently deep to conceal the extra tea chest, containing 
the duplicate silks, which is placed behind the basket 
in arranging the trick for presentation. 

Also on this table are arranged a candle-stick 
holding an oriental candle of a rich coffee-gold shade ; 
a paper cornucopia arranged with secret pocket for 
vanishing silks ; and a piece of newspaper 8x12 inches 
in size. 

This oriental-looking candle is the usual hollow 
paper affair, familiar to all conjurers, but it is larger 
in dimension than the standard size candle, meas- 
uring one inch in diameter by nine inches in length, 
the upper end being provided with the usual plug of 
a real candle for the purpose of lighting, and the en- 
tire exterior of the paper shell is handsomely finished 
in a rich coffee-gold shade. Into this hollow candle 
are packed, side by side, duplicates of the green and 
old rose colored silks. 

A second candle, resembling the paper-shell candle 
to all outward appearance, but of different construc- 
tion, is also employed. This candle is my own design, 
and consists of a metal tube one inch in diameter by 
nine inches in length. It is handsomely finished on 
the exterior in the same coffee-gold shade, to match 
the other candle. The bottom of the tube is closed, 
while at the opposite, "wick" end a slanting partition 
is soldered about half an inch down, for the accommo- 
dation of the usual piece of genuine candle. In the 
present case, however, about half a match is held 
upright in the receptacle, and the space filled with 



The Magic Art 165 

melted candle grease, thus holding the match secure. 
Just below the slanting partition at the upper end of 
the candle is a small oval opening, giving access to the 
interior of the tube. This opening is easily covered 
with the ball of the thumb in handling the candle, 
and when the latter is inserted in the candle-stick 
the opening is, of course, turned to the rear. In pre- 
paring the trick, a duplicate orange-colored silk is 
pushed into the hollow metal candle, a loop of fine 
waxed thread being attached to the final comer. This 
loop is permitted to protrude from the opening, be- 
ing "bent" upward beyond the upper edge of the can- 
dle. Thus prepared, this candle is inserted, match end 
downward, in the inside breast pocket of the per- 
former's coat, and between the sides of a folded piece 
of sand^paper, in manner familiar to conjurers for 
producing a lighted candle from the pocket. 

In view upon one of the side stands is placed a 
small tumbler, and a colored silk handkerchief is 
thrown over the corner of this table. Unbeknown to 
the audience, this side stand is a Black Art table pro- 
vided with two open wells of a size and arrangement 
already described in Chapter 2, under my original sys- 
tem of tumbler manipulation. The small well near the 
front of the table conceals a duplicate tumbler filled 
with colored confetti, and the handkerchief is thrown 
over this corner to conceal the presence of the glass 
and its contents. 

With the three tea chests and cover arranged 
upon the tray, and the duplicate chest of silks hidden 
behind the confetti box on center table; the paper- 
shell candle lighted in candle-stick, the paper cornu- 
copia, sheet of paper, and the tumblers arranged on 



166 The Magic Art 

the Black Art side stand ; and the metal candle in pei*- 
former's pocket, the trick is ready for presentation 
(see frontispiece) . 

When the conjurer carries the tray into the audi- 
ence, the essential thing is to have the spectators 
thoroughly examine the chests and their contents, as 
well as the chimney tube, for by so doing the mystery 
of the problem that follows is greatly enhanced. The 
performer then returns to the center table, placmg 
the chests and tube thereon, and dispensing with 
the tray. 

The points in the trick at which the performer 
has something to do that is not known to the audience, 
now follow: 

(1) The conjurer again opens the chests to 
show their contents, revealing tea in the. first two. 
and silks in the third. A moment later, as the patter 
indicates, he again shows the silks in their chest, then 
places the two tea chests on top, and slips the chim- 
ney tube over the stack. 

(2) When the performer explains how Song Foy 
saw Wang Foo lift the tube and open the chests, he 
suits the action to the words, finally drawing the. 
three silks from their box and draping them over his 
left forearm. He draws the wand impressively over 
the silks; then shows the empty cornucopia (which 
has its secret pocket already opened), which is taken i 
in the left hand, while the right draws the silks, one 
after the other, off the arm and pushes them into the 
paper cone. Finally, he opens the latter, showing the , 
comiplete disappearance of the silks. 

(3) Here the paper-shell candle is removed, still 



The Magic Art 167 

burning, from the candle-stick, and wrapped in the 
sheet of paper, the parcel being twisted up and bursted 
in the middle after the approved fashion, revealing 
the presence of the duplicate green and old rose silks 
therein, which are once more draped over the left 
forearm. This placing of the silks emphasizes the ab- 
sence of the orange-colored one, and the audience are 
not slow to observe the discrepancy. 

(4) The metal candle is drawn from the per- 
former's pocket, the match igniting on the sand-paper 
by pressure on the outside of the coat against the 
pocket. The burning candle is replaced in the candle- 
stick with the opening turned to the rear, of course. 
A moment later, when the performer seeks the miss- 
ing handkerchief, he passes his right hand, palm to 
the front, upward along the back of the candle, seizing 
the loop of waxed thread as the fingers reach the 
flame, and jerking the concealed silk into view with 
such rapidity that it appears to spring from the very 
tip of the candle. 

(5) The silks are returned to their chest, and 
the tea chests- stacked upon it, after which the tube 
is slipped over all. 

(6) In this stage of the proceedings the dupli- 
cate chest of silks is secretly introduced into the tube. 
When the entertainer explains how Song Foy cau- 
tiously lifted the tube from the chests, he suits the 
action to the words, removing the tube very slowly, 
and' while he is peeping into each chest, the tube is 
lowered over the hidden chest behind the confetti box. 
A little pressure is exerted with the fingers, and the 
chest is now lifted in the tube, the latter being placed 



168 The Magic Art 

down in front of the confetti box, to leave both hands 
free. 

(7) When Song Foy hears the footsteps of Wang 
Foo approaching, according to the patter, the per- 
former simulates fright and hastens his movements. 
The two tea chests are thrust, one after the other, in 
at the top of the tube (where, of course, they slide 
down and rest upon the duplicate chest of silks), and 
last of all the chest of silks. . 

(8) The manipulation of the extra chest must 
now be reckoned with. When the tube is again lifted 
it is seized at the upper edge by the right hand, and 
raised very slowly. Just as the lower end of the tube 
approaches the top of the third chest in the stack, the 
left hand seizes' the tube near its lower edge with a 
little pressure, thereby carrying away the fourth chest 
which rested on the top. The left hand, therefore, 
places the tube on the table, and the audience is un- 
aware that it contains the original chest of silks. The 
three chests m view are again opened, and the silks 
found in the bottom one. 

(9) This is merely a repetition of the seventh 
operation. 

(10) Repeat the eighth operation. 

(11) When the silks are again found in the bot- 
tom chest of the stack, the performer pushes them 
hurriedly into the tumbler on the side stand, and 
fills the chest with confetti from the box. 

(12) In this operation the performer secretly 
dispenses with the extra chest, which now contains 
confetti. As he is simulating great haste at this stage 
of his story, his precise movements are not easily 
followed. 



The Magic Art 169 

The chest of silks is now hidden in the tube, and 
when the other three chests are dumped in upon it, 
the one containing the "josh-paper" is the first to go 
in. But no sooner has the performer "eased" it down 
on the hidden chest by exerting a little pressure on 
the outside of the tube, than he lifts the latter, reveal- 
ing apparently the chest of josh-paper on the table,, 
when, as a matter of fact, he has carried away that 
particular chest in the tube, and it is the chest of silks 
now seen by the audience. At this stage of the oper- 
ations. Song Foy is apparently all confusion; he has 
made way with the silks and filled the chest with 
josh-paper, and the performer's actions should ex- 
press his state of mind. Therefore, he has slipped 
the chest of josh-paper into the tube, but as if unde- 
termined he immediately lifts, the tube and picks up 
the chest now revealed. During this momentary 
pause, the hand which holds the tube is lowered to the 
table, directly behind the confetti box. The tube 
scarcely reaches the table when it is again carried 
forward, but the movement is ample to permit the 
hidden chest to find a resting place behind the box. 
The performer therefore claps the tube over the chest 
supposed to contain the josh-paper, and with the op- 
posite hand dumps the two chests of tea in on top. 

Leaving the chests covered with the tube, the per- 
former now goes to the side stand and apparently 
covers the tumbler of silks. I say apparently, for 
when he lifts the handkerchief that rests on the cor- 
ner of the table, he carries within its folds the dupli- 
cate tumbler filled with confetti. The instant the 
tumbler of silks is screened by the handkerchief, it is 
permitted to slide easily into the large Black Art 



170 The Magic Art ^ 

well, and the handkerchief is now draped around the 
glass of confetti. The conjurer walks forward with 
the supposed tumbler of silks thus covered. 

(13) The handkerchief is lifted from the glass, 
revealing "josh-paper" instead of the silks. 

(14) The performer empties the confetti back 
into the box on the table, and then lifts the tube from 
the stack of tea chests. He opens each chest, reveal- 
ing its. contents in turn, finally reaching the silks in 
the last, which he removes and draws over his arm. 
As in the beginning, the spectators may examine all 
of the visible properties at the termination of the ex- 
periment without being any the wiser for their pains. 

One little detail in the performance should be em- 
phasized, to insure a perfect effect. When the extra 
chest is hidden in the tube, and another chest is in- 
serted into the latter, the contact of the two metal 
boxes will not be audible if, just as the chest is dropped 
into the upper end of the tube, the opposite hand ex- 
erts a slight pressure on the outside of the latter, 
compelling the chest to glide noiselessly to the bottom. 

The secret exchange of the tumbler of silks for 
the tumbler of confetti is described with the small 
Black Art table outlined in Chapter 2; but it will be 
readily understood that the same exchange may be 
effected by the aid of a chair, if desired, as likewise 
explained in that chapter. 

Later on, I shall describe another version of the 
Tea Chests of Wang Foo, which I have specially ar- 
ranged for children's entertainments. 



CHAPTER IV 
Working Up an Act 

WE now come to an entirely different phase in 
the art of conjuring, and strangely enough, it 
is one that has been almost completely ignored by 
wl-iters in the past. So far, I have explained the arti- 
fices and accessories, as well as individual tricks, em- 
ployed in the practice of magic. In the present sec- 
tion I shall take up the task of arrangement and pre- 
sentation, of various groups of tricks, with suggestions 
for blending them into a finished product of conjuring. 

It is to be understood that arrangement and 
presentation only will be considered here, as space 
forbids the description of each and every trick! 

This "working up" of a complete act is the 
stumbling block of the average entertainer ; its im- 
portance in magical entertaining may be said to be 
sufficient to insure his success or failure, and con- 
siderable time, study and experiment will be spent be-- 
fore a satisfactory arrangement is found. 

Every amateur should have at least one set act 
— ^that is, an act which he can make ready and pre- 
sent on short notice, if need be, and under almost 
any condition. There is a feeling of great personal 
gratification to the amateur so equipped. An act of 
a half hour's duration will be found best adapted 
for this purpose, and if it is cleverly arranged it 
can be cut to suit any occasion, from a ten or fifteen 
minute "turn" up to the. full half hour, without in 
any way- breaking the original sequence. The act, 
"Fun, Deviltry and Magic," which follows, will 
serve such a purpose admirably, and I shall make 



172 The Magic Aet 

further comment on this subject after a description 
of the' complete act. . 

Fun, Deviltry and Magic — A Thirty- 
Minute Act 

I call this a thirty-minute act, but it will be un- 
derstood that much depends upon the patter and rapid- 
ity of execution as to the precise duration of the act. 
The writer has used this particular series of tricks, 
with minor rearrangement here and there, for some 
years, and can recommend it as an ideal magic act from 
almost any viewpoint. First, it is very effective, 
always holding the attention of my auditors from be- 
ginning to end; and, second, it is easily made ready 
and as easily packed up again. 

The present act was not worked out in a day, 
but was the gradual evolution of many ideas, duly 
tried out (both as to fitness and popularity) by the 
elimination process. At the same time it will, of 
course, bear almost unlimited variation, and the author 
often substitutes or adds a trick here and there to 
suit a particular occasion, without, however, destroy- 
ing the familiarity (to him) of the set act. 

I shall first describe the precise effect of the 
complete act, giving my own method of presentation, 
suggestions for patter, etc., after which I will go over 
the working of it in detail. As to the patter, let me 
impress upon the reader this important (and yet so 
sadly neglected) factor m successfully entertaining 
by magic. In my own case, I consider the patter 
which I use in this act at least sixty per cent respon- 
sible for its success. Not necessarily the particular 
patter used, but the fact that it is sufficiently inter- 



The Magic Art 173 

esting to hold my auditors' attention from one experi- 
ment to another. 

THE EFFECT : When the act is ready the audi- 
ence see some properties arranged upon two tables 
and a chair. I step before my auditors and, after a 
few opening remarks, pick up a handsome little ma- 
hogany box from the table. I begin: 

"I was fortunate in obtaining not; long ago this 
quaint little Egyptian box, which I am told was once 
the property of an Egyptian princess named Karnac. 
Princess Karnac lived about the time of the building 
of the pyramids. Of course, I have had the box care- 
fully restored, so. that it appears quite new, but the 
old mysteries of the temple still remain, and I shall 
presently show you some of them. You will notice 
the box is without lid, and the bottom is removable. 
I was puzzled for a time about this hole in the bot- 
tom, but upon going back into history I find there 
was an old superstition among the Egyptians to the 
effect that a good little genii presided over the wel- 
fare of the possessor of the box, so an opening was 
always provided for his special convenience. 

"I am going to try and bring this good little genii 
to life here tonight. You will recall that Aladdin 
rubbed his Wonderful Lamp, and the genii appeared — 
just as this little piece of rare old Egyptian silk ap- 
pears here now." 

The silk (which is of a brilliant red shade) is 
slowly pulled over the front edge of the box, which 
latter has been repeatedly shown empty during the 
above remarks. "I want the ladies to examine this 
little piece of old Egyptian silk very carefully — note 
its wondrous lustre and rare texture, and think of 



174 The Magic Art 

the marvelous state of preservation when you consider 
the hundreds of years it has laid in the temple." 

Well, the ladies examine the "rare old silk" with 
great care, and some times actually marvel at its state 
of preservation! 

I now return to my table, and again facing the 
audience, replace the red silk in the box, leaving a 
portion in view. I continue, "Let me show you this 
pocket. Empty, like every conjurer's pocket. See 
What I shall do. By repeating certain incantations 
of the Temple, handed down to us from the days- Of 
Nostradamus, I shall conjure the little piece of red 
silk from the box into this empty pocket. Listen! 
Chiddy, biddy, bee; chiddy, biddy, bi; chiddy, biddy, 
bo! See, the silk has left the box — empty! And 
here in my pocket is the missing silk!" 

The silk passes invisibly from the box to my 
right hand ti'ousers' pocket. I now explain that 'by 
merely reversing the process and the formula, the 
silk will pass from the pocket back to the box, which 
is duly carried out, and the pocket again shown 
empty. • 

Stepping behind my table, I now, introduce a 
glass pitcher of milk and a large empty tumbler. I 
fill the tumbler with milk from the pitcher, and then 
isolate the glass of milk upon a handsome, nickeled 
pedestal standing upon the table. I then remove the 
red silk from the box, and lift the latter off its bot- 
tom, permitting the spectators to look right through 
the box, after which I replace the box on its bottom, 
and drop the silk back into the box, crying, "Go!" 
All parts of the box are instantly shown, but the silk 
has vanished like a flash, gtiU retaining the box in 



The . Magic Art 175 

my left hand, I step over to the glass of milk rest- 
ing on the pedestal, and showing my right hand front 
and back, insert my finger tips into the milk in the 
glass, and slowly draw out the missing red silk, per- 
fectly dry. I show the silk freely, then toss it back 
into the box, while I lift the glass of milk off- the' 
pedestal and place it to one side on the table. 

I now walk forward with the box on my hand, 
and reaching into same, again slowly pull out the red 
silk, but to the surprise of my auditors a yellow silk 
is found attached to the red ; a blue one to the yellow ; 
then white, orange, black, old rose, etc., follow, the 
silks being knotted at corners diagonally opposite, in • 
a long string, the whole making a very gorgeous dis- 
play. I continue: 

"Really, ladies and gentlemen, when once these 
marvelous forces are set at work, the possibilities 
are without limit, and they can be applied to all man- 
ner of objects. Let me show you. I will use just 
one of these silks, say the blue, and this paper cylinder, 
which has no specialty, being merely nothing with a 
rim around it, and a round hole at each end. Several 
other objects will be employed in my experiment, such 
as this glass and some of the confetti in this box. I 
wonder if some obliging boy will assist me by filling 
the glass with confetti? Thank you; now don't make 
a mess of it. Fill the glass right up to the brim. Such 
faithful service merits reward. I am going to pre- 
sent you with a wishing tube." 

While the boy is filling the glass with confetti, 
I return to my table and form a paper tube by the 
aid of my wand. The ends of this tube are then 
twist?(J up, and it is carried to the volunteer assistant, 



176 The Magic Art 

who has by this time filled the glass with confetti. 
Holding the paper parcel before him, I give it an im- 
pressive tap with the wand, pronouncing the mystic 
word, "Abracadabra," at which everybody laughs. 

"Don't laugh, please. I have merely borrowed 
the good little genii of the Princess Karnac, and con- 
jured him into the tube. Now, sir," to the boy, "you 
hold the tube at arm's length above your head — ^my 
goodness, no, not with the right hand ; always the left 
when you fool with geniis. You almost spoiled the 
good forces. I will take the glass and box, and leave 
you thp wishing tube. All you have to do is to wish 
for something and it will materialize in the tube. 
Mind, you are not supposed to wish for an automobile 
or an aeroplane, or anything else rather bulky, and 
don't let your mind lose its concentration on the tube 
for a single instant, or the genii will be disgusted and 
return to the box." f 

I carry the glass and box to my table. I remove 
the blue silk from the top of the paper cylinder, and, 
crumpling it into a loose parcel, push it into the lower 
end of the cylinder, which is then replaced on the 
table. 

"I want you to notice that I merely push the lit- 
tle blue silk into the paper cylinder. Then I cover 
the glass of confetti with this handkerchief, because 
the mystic forces do not operate properly under strong 
light. See, they are already at work — the glass and 
confetti have utterly vanished. But they are not far 
off, for we find them under the paper cylinder." The 
paper tube is lifted, revealing the glass of confetti 
thereunder, in place of the silk. 

"Now, — I beg your pardon, someone asked A^hat 



The Magic Aet 177 

has become of the little blue silk. I confess I had 
forgotten it for the moment. Perhaps it passed into 
my pocket." I search my pockets without result, and 
then go over to the boy, who has all this time held 
the paper tube above his head. 

"Have you been concentrating intently upon the 
wishing tube? You have? Perhaps the blue silk is 
in one of yov/r pockets." I relieve -him of the paper 
parcel, and feel in several of his pockets, then : "Oh, 
now I see where the trouble is. My assistant here 
forgot all about the wishing tube, in watching my op- 
erations, and taking advantage of that fact, the genii 
took a hand in the experiment." 

I twist up the parcel until it bursts, revealing 
the missing blue silk therein. I return to my table 
with the silk, and now replace the cylinder over the 
glass of confetti. I roll the blue silk smaller and 
smaller between my hands until it disappears entirely, 
and my hands are shown quite empty. Then I lift 
the paper cylinder from the glass, revealing the blue 
silk therein instead of the confetti with which the 
glass was filled. 

"You see the confetti has obligingly made way 
for the silk, and returned invisibly to the box," dipping 
my hand into the box and bringing up a handful of 
the confetti. "Isn't it wonderful?" 

This completes the handkerchief work, and I now 
gather up all the silks and place them into the ma- 
hogany box; the glass and paper cylinder are dropped 
into the confetti box, and both boxes placed to one 
side. I then pick up from the chair a large bag of 
black broadcloth, which is provided with a network 
opening in one corner. I come forward turning this 



178 The Magic Art 

bag inside out and back again, beating it against my 
knee, and otherwise handling it in a manner to pre- 
clude any possibility of the bag having anything con- 
cealed within it. 

"We read of some funny things in the newspapers 
these days. There is the professor who tried to de- 
velop a breed of chickens that would lay square eggs 
for convenience in shipping. Of course he failed in 
the undertaking, and I believe they have sent him to 
some institution to round off the corners. Now, if 
he had just resorted to conjuring, he might have suc- 
ceeded a little better. At any rate, I, myself, have 
succeeded in producing eggs Without chickens, but 
they are the regulation style, minus the corners, and 
I have so far kept out of an institution. I make the 
latter statement just for the sake of setting your 
minds at ease. 

"Now I get my supply from this plain black bag. 
You can see for yourselves that it is perfectly empty, 
but to satisfy the skeptics I'll turn it inside out again, 
and back. Nothing could be more simple. A lot of 
people have bothered their heads over this process of 
egg making, and have advanced some strange theories 
as to how it's done; but let me tell you they are all 
wrong. Why, one man went so far as to claim that 
I had a hen up my sleeve, and this hen laid the eggs 
that I produced from the bag. Just to disprove such 
senseless theories, I will turn my cuffs back to the 
elbow." 

-The bag is held between my teeth while I roll 
up my sleeves, and the hands are then shown empty. 
Once more the bag is turned inside out and back again, 



The Magic Art 179 

very slowly, when it is seized between the thumbs and 
forefingers at. opposite sides of the opening, 

"Notice the , simplicity of the process. First I 
show you the outside of the bag. Then I show you the , 
inside, and back again,. Please observe, by the way, 
that I am perfectly empty-handed. Watch! I just 
shake the bag a little, and that makes all the differ- 
ence. See, there's an egg in the corner." 

The egg is seen in the network corner of the bag, 
and is removed and placed on the table. 

"Watch the corner of the bag. See, there's an- 
other. Quite an eggstraordinary eggsperiment, you 
must admit. I'll turn the ba^ inside out again. Noth- 
ing there; — in other words, it's perfectly empty; but 
wait a moment. You observe that the supply, is in- 
eggshaustible." 

Five or six eggs are thus produced from the bag. 
Finally, I walk forward with the bag, and again turn 
it inside out, remarking, "Perhaps you would like to 
s~ee the source of this mysterious egg supply. Well, I 
am going to let you in on this one. I told you in. the 
beginning that I did not have a hen up my sleeve. I 
didn't, and that's a fact-.' I really don't use a hen at 
all." 

Here I reach into the bag and extract an immense 
egg plant, "It was in the bag all the time." 

I now place the bag, the egg plant and the plate 
of eggs to one side, and arrange the properties for the 
next trick. These consist of a clear glass decanter, 
partly filled with water, a nickeled skeleton card 
houlette which fits into the neck of the decanter by 
means of a cork, a pack of cards, and a tray of wine 
glasses. All these articles have been on my table' 



180 The Magic Art 

throughout the entertainment, with the exception of 
the tray of glasses, which has been placed in readiness 
on a table or chair near the back of the room or plat- 
form, and which I now bring forward and place on the 
chair near my conjuring table. 

"The experiment which I am about to show you, 
ladies and gentlemen, is one of the most beautiful, as 
well as the most marvelous, in magic. It is strictly 
scientific in nature, and I shall ask you to consider it 
as such, and give it your very closest attention." 

Advancing to the audience with the pack of cards, 
1 continue: 

"I am going to ask several ladies and gentlemen 
to assist me by selecting cards from this pack. Will 
you take a card, please? — Note your card carefully, 
so that you will be sure to know it later, on. And 
you, sir, kindly take a card; do not let me influence 
your choice. Thank you. And now one more, please. 
Thank you." 

Three cards are selected by as many different 
spectators. 

"Now I am going to ask you to hold up your cards 
so that everyone may see them. I will turn my back, 
as I wish to be the only one in the room Who does not 
know the chosen cards. That will do, thank you. 
Please take down your cards. I will appoint this gen- 
tleman to take the pack and collect the selected cards 
therein, after which I would like him to shuffle the 
pack thoroughly. If any other person desires to 
shuffle the cards, permit him to do so. Thank you." 

While the cards are being collected and shuffled, 
I return to the table for the card houlette. "Next I 
wish to call your attention to this little nickeled case, 



The Magic Art 181 

or frame, which I use in this experiment as a card 
holder. It is free from deception, but you may ex- 
amine -it if you wish." 

I finally return to my table with the pack of 
cards and the houlette. The former are laid on the 
table, while I fit the houlette on the decanter, remark- 
ing, "I hate to bother you with these preliminary ar- 
langenients, but they are really quite essential to the 
experiment. You will notice that I place this card 
holder on top of the decanter, for I want you to be able 
to see the cards clearly." I insert the pack of cards 
in the houlette. 

"Now before I proceed to give you a remarkable 
demonstration of my control over any particular card, 
I should like to remark that the majority of people 
do not sufficiently understand that the capacities of 
man are capable of an almost infinite extension in a 
higher direction. I do not state this fact for the put- 
pose of arousing astonishment, but merely to test your 
capacity for accepting possibilities which have not 
hitherto come within the range of your experience. 
For instance, the mere act of concentrating one's whole 
strength of will upon a particular determination — as, 
for instance, the materialization of a spirit being, — 
is to command that astral or invisible form to mani- 
fest its presence within the circle of influence. 

"Hitherto, such manifestation has served no use- 
ful purpose; but continual scientific progress has en- 
larged the ordinary sphere of man's psychological 
grasp to such an extent "that he is now able to harness 
spirit force, and compel it to give practical demonstra- 
tion of its latent energy. 

"You are well aware that we have three selected 



182 The Magic Aet 

cards, mixed with others, and secure from personal 
contact, tangible influence, or any known natural force 
by complete isolation in this little frame. Now by a 
severe mental effort I desire the spirit of the great 
Cagliostro to manifest itself. I command the astral 
form of the spirit I have named to materialize in the 
decanter. Watch closely and you will see that the 
atmospheric pressure in the decanter is disturbed by 
the pressure of the life waves that tend to displace the 
point of grayity, and thereby force the card of which 
I am thinking to rise from the pack." A card rises. 

"Perhaps the lady will be good enough to state 
aloud, for the benefit of the company, if this is her 
card. Thank you. 

"And now for the second card. I believe this gen- 
tleman selected the second card. For the benefit of 
those who failed to grasp the trend of my previous 
remarks, I will repeat them backward. Better still, 
I will do it silently, so that you may not think the 
card rises to stop me talking." (Card rises.) "There, 
you see, the spirit moves it. 

"And now for the last card. I do this ttick for 
the third and last time in order that you may form 
your own idea how it is done. Some people think it 
is done one way, some another, but I can assure you 
neither way is correct — it is done in a different man- 
ner altogether. In' fact, while I have been talking 
the spirit of the great Cagliostro has turned the^;rick." 
(Third card rises). ■ ' • 

1 carry the three Selected cards, the decanter and 
Ihe h6ulette still conljaiping' the pack, intb the ' audi- 
ence for close examination. " Then, as I return these 



The Magic Art 183 

articles to my table, I remove the houlette fi'om the 
neck of the decanter, and continue: 

"A gentleman advanced a rather startling solu- 
tion of this problem the other evening. I believe his 
theory was something to the effect that the water in 
the decanter had something to do with the behavior 
of the cards, even going so far as to advance the argu- 
ment that I used alcohol whose fumes might act upon 
the cards. What a clever fellow! I admit the prob- 
lem .to be spiritualistic, but my spirits are of a differ- 
ent sort than those found in bottles." 

While I am speaking I transfer the tray of glasses 
from the chair to thie table, and take my position be- 
hind the latter, with the decanter placed behind the 
row of glasses on the tray. 

"However, while we are on the subject of spirits, 
liquid or otherwise, I may as well show you my own 
particular formula for brewing 'the essence of joy.' 
I don't want my method generally known, of course, 
and I am revealing it only in the strictest confidence. 
(I notice a good many members of the Home Brew 
League present this evening, — don't leave, Mr. Bryan, 
we'll get to the grape juice a little later.) When the 
dry season hit this country a few months ago, it was 
truly astonishing how the men suddenly took an inter- 
est in domestic affairs. Most of them could be found 
at home — in the basement — any evening in the weekj 
and in their usual unselfish way they ' shared their 
Joys with the wife — even to letting her w'asli the 
bottles. -, . 

"I understand a good many methods have salready 
been worked out. In fact, if you'll eavesdrop around 
any two^or more men these days, you'll hear as many 



184 The Magic Art 

methods as there are Home Brewers in the bunch. 
Some advocate the raisin, others the prune, and I've 
even heard of a Mexican bean that raises all sorts of 
Ned in a home brew. 

"For my own part, I belong to the raisin cult. 
I was raised-on raisins. That may be the cause of 
it; but I flatter myself that I've discovered just about 
the best method of them all. . Of course, my fellow 
home-brewers will declare they all say that, but I am 
going to prove my assertion right here and now. No 
nineteen days in my brew — no malt — ^no prunes— no 
Mexican bean. Just a small quantity of plain, every- 
day water, and a few gentle, brunette raisins. Isn't 
it simple? 

"I keep my raisins in a glass box, for the little 
creatures love plenty of sunshine. They are Cali- 
fornia raisins ; I suppose that accounts for it. 

"Now for the secret process. First, take a bot- 
tle and fill it with plain water, just as we have it 
here. If any of you gentlemen doubt the contents of 
my decanter, I shall be glad to have you sample it." 
I fill one of the glasses with water, and replace it 
upion the tray. "Now I will show you what one poor 
little innocent raisin can do when he is thrust into 
the world upon his own resources." 

I open the glass box and remove a raisin, which 
I drop into the second, empty glass on tray. 

"Observe ! I merely add a little Water, and — 
thfere you are! Real sparkling wine! The essence 
of joy! The concoction of merriment! The perfume 
of f orgetf ulness ! Can you beat it?" The water has 
turned to red wine. 

"Now you might think I had tampered with the 



The Magic Art 185 

water, but you can see for yourselves that, without 
the aid of his Majesty, the Raisin, nothing comes of 
it." I pour water into Glass No. 3. 

"I shall repeat the process with Glass No. 4, just 
to prove to you that the thing is all I claim for it. This 
time I shall select a raisin with light blue eyes, but 
otherwise brunette." The raisin is dropped into 
Glass No. 4. "Then I add the water, and the result 
is apparent to all. You don't have to use a raisin to 
each glass of water--— just mix the contents of the two, 
and you have one for the wife, or someone else's wife." 
The fluid in Nos. 1 and 2 are mixed together, result- 
ing in wine in both glasses. 

"I was demonstrating my private process before 
the Desert Reclamation League the other evening, and 
had just reached the present stage when there came 
an energetic knocking at the door. Someone whis- 
pered 'Federal agents,' and there was quite a bit of 
excitement for the moment, for the wine was very 
much in evidence. There wasn't the slightest need of 
anxiety, however, for, just as the agents came in, I 
calmly returned the contents of all four glasses to the 
decanter," suiting the action to the words, "and — ^you 
can see the result for yourselves — nothing but water! 

"The explanation is absurdly simple — ^too many 
cdoks spoil the broth ; or, more properly speaking, too 
many raisins spoil the brew. It seems they are jeal- 
ous little creatures, and refuse to work unless they 
are left entirely alone. Well, these Federal agents 
took a look around, found nothing but water, and 
with due apologies, made their departure. No 
sooner had the door closed upon them than I dropped 
an energetic raisin into each glass but one — (one fel- 



186 



The Magic Art 




Fig. 24 



The Magic Art - 187 

low wanted water— he belonged to the prune delega- 
tion, I believe), and served wine to all but the prune 
advocate." I fill three of the glasses ^vith wine and 
the fourth with water. 

"I hope all of you have followed my demonstra- 
tion closely. You can't go wrong on the process ; but, 
whatever you do, don't give it away, for I value it 
highly." 

I now close the act with an old conjuring classic, 
namely, the Sliding Die Box, and some points in the 
mode of presentation here given will no doubt be hew 
to the reader. 

The die box, with its accompanying nickeled 
"chimney" cover, have reposed up to this time on the 
chair, and when I have finished with the wine and 
water experiment, I place the tray of glassware to 
one side, and transfer the die box and chimney to the 
table. ^Nothing remains on the chair -but a folded 
newspaper. Opening the die box, and lifting out the 
solid die, I advance to the audience with the die and 
chimney. 

"That little c^ddy on the table was bequeathed 
to me, along with several other antique objects, by 
my grandmother. I did not attach much importance 
to the legacy until I discovered that the caddy pos- 
sessed some very reiharkable qualities of a magical 
nature. This large die was in the box, and as it 
could not possibly have belonged to my grandmother, 
I have a sneiaking suspicion that it belonged to grand 
dad, who-jinay have been something of a crap-shdoter 
in his day^ Hbwever, that ha:sn't anything to do with 
the problem which I am about to propound. The 
first operation is to" instill into your minds the fact 



188 The Magic Art 

that the die is nothing more or less than a solid cube 
of wood," tapping it on a small boy's head, "and this 
, square cornered tube serves as a cover for the die 
when it wishes privacy. Take them into your own 
hands, please, and satisfy yourselves that everything 
is just as I represent it. I wouldn't deceive you for 
the world." 

While the die and cover are being inspected, I 
borrow a derby hat, in which I now receive the die, 
while my free hand takes the chimney cover. Return- 
ing to the stage, I place the hat, still containing the 
die, upon the chair, at the same time removing the 
newspaper, which I now spread upon the table and 
place the chimney upon it. 

J continue, "I forgot to show you that the caddy 
is empty since I removed the die from it," opening the 
two doors and closing same, and replacing the caddy 
upon the table. "People are always so suspicious of 
a conjurer's movements! Now, watch. Where did 
we place the die? Oh, yes, in the hat!" I walk over 
to the hat and lift it from the chair, at the same time 
reaching into it with the opposite hand and lifting out 
the die. The hat is replaced on the chair, and the die 
carried to the table and covered -with the chimney. 

"There are just three ways in which you can 
catch the professor in this experiment, and I flatter 
myself that I am quick enough to deceive you even 
with telling you of my weak points. All you have to 
do is to keep one eye on this tube where the die now 
reposes," hfting the chimney and revealing the die 
thereunder, again" covering same ; "one eye on the tea 
caddy, which, as I showed you a moment ago, is quite 
empty," again opening the two front doors of the 



The Magic Art 189 

caddy and showing its empty interior; "and the other 
eye on the gentleman's hat, over there on the chair. 
If you will just remember to do this, you'll have no 
difficulty Whatever in learning how the thing is 
done." 

The die is now commanded to pass from the cover 
into the tea caddy. I immediately lift the chimney 
and show it empty — even passing my hand through 
the tube, — ^the solid die has gone. I then pick up 
the die box and open the two front doors. The miss- 
ing die is visible in one of the compartments, and I 
lift it from the box, show it, and then replace it in 
the box. 

The next stage of the problem is to again demater- 
ialize the die and cause it to pass from the caddy into 
the hat. The magic word is spoken, and the top and 
front doors of one compartment of the box are thrown 
open, showing that end empty. These doors are 
closed, the box tilted, and the other top and front doors 
opened, revealing the second compartment likewise 
empty. This operation is repeated several times, until 
the audience, fully aware of an audible sliding sound 
that emanates from the box each time the latter is 
tilted, insist that the die is still in the box. Once more 
the box is tilted, and this .time I run my fingers into 
the compartment that is now uppermost, showing 
box all around with the two doors of this compartment 
wide open. This brings the house to screams of laugh- 
ter, and loud exclamations of "Oh, we see it — it's in 
the other side!" for the die is apparently seen in the 
lower, closed compartment. 

I therefore close the two upper doors, and the 
die now vanishes from the box with a click, and all 



190 The Magic Art 

four doors are opened and the box shown perfectly 
empty. Going over to the hat, the solid die is tipped 
out oil the chair. 
Curtain. 

I shall' first list the properties employed in the 
act, and follow with their arrangement and presen- 
tation. 

A Japanese Handkerchief Box. 

Three red silk handkerchiefs. 

Ten I or twelve silk handkerchiefs of different 
bright colors,, tied in a long string, 

A small pitcher of milk. 

A trick glass having a funnel-shaped tube blown 
up from the bottom, said tube being open at ; both 
ends. Being of glass, this tube is never noticed in 
the, tumbler. 

A , Handkerchief Pedestal, which ejects a silk 
handkerchief out of the upper end of the shaft when a 
piston is raised. 

Two lemonade tumblers of like appearance, one 
bottomless, . the other unprepared. 

A confetti "feke" fitting into the bottomless 
tumbler. 

A double handkerchief containing a ring of the 
diameter of the tumblers. 

A plain paper cylinder, about eight inches long, 
which passes freely over the lemonade tumblers. 
'A sheet of plain paper, 8x10 inches. 

A handkerchief wand with removable plug and 
hook in one end. 

Two blue silk handkerchiefs of like size. One 
is provided with a little -patch of silk holding a leaden 
disc in its center. 



The Magic Art 191 

A "tall" cigar box, partly filled with vari-col- 
ored confetti. This box is of sufficient dimensions 
to conceal one of the lemonade tumblers behind it, but 
not as tall as the paper cylinder. 

A large black bag, provided with a network cor- 
ner, commonly called the "Producing Egg Bag." 

Five or six celluloid eggs. 

A plate. 

An egg plant with a black bag of suitable size to 
hold the vegetable. 

A "squat" decanter, partly filled with water. 

A skeleton card houlette, provided with a cork 
under its base, which fits into the neck of the decanter. 

A packet of threaded cards, three of which ' are 
arranged to rise as in the orthodox rising cards trick. 

An unprepared pack of cards, minus the above 
threaded cards. 

A forcing pack of cards, three kinds only. 

A tray of glasses and a small glass box of raisins. 

A Sliding Die Box, containing the usual four-sided 
shell die in the one compartment; while a loose flap, 
representing upon one of its sides the "four" spot side 
of a die, reposes, spot side down, in the other com- 
partment. 

A nickeled "chimney" tube containing a hinged 
die shell. 

A solid die. 

A newspaper. 

Two conjuring tables and a chair are used. I 
use a black sateen slip to cover the seat and back of 
the chair, rendering the latter portion of the chair 
opaque for concealing the egg plant load. 

My center table is the Acme type, with a 16x22- 



192 The Magic Art 

inch top, and provided with a bag servante. The side 
stand is one of the famiUar Kellar types, carrying a 
13-inch square top without drapery. 

In setting up the act, the two tables are first as- 
sembled, of course, and the slip cover tied on the chair. 
The Kellar stand is on my left as I face the front, and 
a little forward of the other table, while the chair is 
rather clos^ to the latter and about even with it. 

One of the red silk handkerchiefs is inserted into 
the flap of the Jap box; another into the shaft of the 
handkerchief pedestal; while the third is crumpled 
up and inserted into the "top of the pocket" of my 
trousers on the right side. 

The string of colored silks is formed into a com- 
pact parcel, the outermost silk in the string being red 
(to match the others of this shade) , which is used as 
a covering for the parcel, which is vested on my left 
side. 

The handkerchief pedestal is placed on the right 
hand end of the center table, with the Jap box, rest- 
ing upon its .side so that an onlooker can see right 
through it, placed on top of the pedestal. The bot- 
tom of the box is off and resting through the box to 
keep the secret flap (which is lowermost) closed. 

The plate rests just behind the pedestal, with the 
handkerchief wand, duly "loaded" with the unpre- 
pared blue silk attached to the hook on the plug, be- 
side it. The 8x10 sheet of paper is here. also. 

On the left end of the center table stands the con- 
fetti box, with the bottomless lemonade glass, con- 
taining the confetti feke, hidden behind the box. The 
blue handkerchief that carries the leaden weight is 
also by the cigar box; while in view in front of the 



The Magic Art 193 

box stand the unprepared lemonade glass and the 
paper cylinder. 

The water decanter, card houlette, forcing pack, 
pitcher of milk and "funnel" glass are in view on the 
Kellar stand. The packet of threaded cards rests 
just behind the decanter, with the slack of the thread 
hanging down in back, and the end of this thread is 
attached to the base of the stand. 

The unprepared pack of cards is placed in my 
lower vest pocket on the left hand side. 

The bag containing the egg plant is suspended ' 
from a headless nail driven into the chair back; and 
the double handkerchief is thrown over the latter. 

On the seat of this chair are arranged, first, the 
newspaper, which is folded in four, and "leaned" 
against the chair back. The hinged shell die is con- 
cealed behind this newspaper. In front of the news- 
paper are placed the sliding die box, the solid die, 
the chimney cover, and the producing egg bag, the 
latter being duly loaded with the five celluloid eggs. 

Rather back from my tables I place any small 
table or chair to serve the purpose of an "off stage." 
The tray of glasses and box of raisins rest here until 
wanted, and the various properties are carried back 
to this table when they have served their purpose. 

The glasses on the tray are, of course, duly pre- 
pared for the wine and water experiment, according 
to your own favorite formula, as well ^s the water 
contained in the decanter. 

The act is now ready for presentation, most parts 
of which will be fully comprehended by a careful 
study of the effect given in the beginning. When I 
step before my audience, I pull the bottom of the Jap 



194 



The Magic Art 




Fig. 25 

box out of the box proper with my left hand, and lift 
the box witft my right, the thumb keeping the flap 
safely closed. During the tellirig of the story of the 
Egyptian princess, I continually turn the box about 
so that my auditors can clearly look right through it. 
When 1 say, "You willrecall that Aladdin rubbed his 
"VVonderful Lamp, and the genii appeared-^ — *' I have 



The Magic Art 195 

replaced the box on its bottom, and now rub the front 
of the box with my right fingers; then, "just as this 
little piece of rare old Egyptian silk appears here 
now." I reach over th& front edge of the box, and 
slowly, very slowly, draw the red silk over the edge 
into view. 

After the ladies have marvelled at the wonderful 
state of preservation of the little piece of silk, I pull 
out my right hand trousers' pocket, showing same per- 
fectly empty, as this operation does not disturb the 
duplicate silk reposing in the top corner of this 
pocket ; but in pushing the pocket back into place the 
thumb goes into the top corner and drags the silk down 
to the bottom of the pocket. 

The visible red silk is now pushed into the box, 
vanishes, and is reproduced from the pocket. It is 
then returned to the pocket — really bunched up a lit- 
tle and pushed again into the top corner of pocket 
with the thumb, while the fingers go to the bottom 
as if actually pushing the silk well down there. The 
silk now passes invisibly from the pocket back to the 
box. 

Leaving the silk hanging over the front edge of 
the box, I now step to the side stand and fill the 
"funnel" glass with milk from the pitcher, taking 
care to bring the milk not quite level with the upper 
opening of the "funnel" in the glass. The glass of 
milk is then isolated upon the pedestal, and the latter 
transferred to the side stand, during which opera- 
tion the piston is pushed upward, propelling the hid- 
den silk into the funnel of the glass of milk.. 

Again picking up the Jap box, the red silk is 
placed therein and vanished. Retaining the box in 



196 The Magic Aet 

my left hand, wjhich is held against the front of my 
body, I approach the pedestal with iriy left side to- 
ward the audience. Showing my right hand empty, 
back and front, I insert my fingers, apparently, into 
the milk in the glass, drawing out the missing red 
silk, perfectly dry. 

Now in holding the box my thumb is through the 
hole in the bottom to keep the flap closed, and the 
fingers are resting against the front of the box, and 
this side is against the body. While all eyes are 
watching the silk as it is drawn out of the milk, the 
left hand fingers steal the parcel of silks from the 
vest, and hold same against the outside of the box. 
The red silk just drawn from this bpx is now placed 
ove7- the parcel of silks in left hand, effectually con- 
cealing the load, while the right hand, still diverting 
attention, lifts the glass of milk from the pedestal and 
places it down on the table. The left hand is now 
brought around with the box and (apparently) the 
red silk resting on the finger tips. The right hand 
takes the silk (together with the parcel it conceals), 
and carelessly drops it into the box. 

After a moment's pause, I again reach into the 
box and apparently begin the deliberate removal of 
the red silk, but this particular red silk is the outer- 
most handkerchief of the string, and the brightly 
colored silks are slowly produced from the box, form- 
ing a very brilliant display. 

The above production of a great quantity of silk 
from the Jap box is practically indetectable, especially 
if the outermost silk of the load is the same color as 
the silk used in the various experiments with the 
box. The author has puzzled many magicians with 



The Magic Art 197 

this production, their first guess invariably being that 
the Jap box must be some new type with greater silk 
capacity than commonly employed. 

I now gather up the string of silks, and push 
them into the Jap box, and about the same time I 
pick up the blue silk (with, leaden weight) that rests 
near the back of the table, and place it at the front of 
the table. Later on, if given any thought at all, the 
a:verage spectator believes this silk was one of those 
produced from the box. 

The "Mystic Handkerchief and Tumbler of Con- 
fetti" is the next item on the programme, and a fiill 
description of its presentation will be found in Chap- 
ter 2. 

This is followed by the producing egg bag, for the 
presentation of which the chair is pushed right up to 
the center table, so that when I stand with the chair 
on my left, the plate on the table is a slight straining 
point. The egg bag is picked up from the chair, and 
the five eggs duly "produced." Now when I produce 
the last egg, and reach over the chair to place it on 
the plate on table, my left hand, with the bag, is rested 
in a perfectly natural position on the top of the chair 
back. While in such position, the fingers of this 
hand seize the bag containing the egg plant, and when 
I now step away from the chair the load is brought 
along behind the egg bag. I again proceed to turn 
the egg bag inside out, and by this operation the egg 
plant is brought into the bag, from which it is now 
produced, with more or less effort on my part to dis- 
lodge it. I am by no means the first to use the egg 
plant as a finale for the egg producing bag. It makes 
a decidedly novel, if not appropriate, finish for this 



198 The Magic Art 

particular trick, and is useful where the performer 
does not find it convenient to produce a rooster, or 
other live stock. 

The rising cards on the decanter is the next item 
offered. 'The method employed will be recognized as 
the orthodox, but the particular version is very bril- 
liant and satisfactory. When the three cards are se- 
lected from the (forcing) pack, and I turn my back 
for a moment so that all the spectators may see the 
drawn cards, I quickly drop the forcing pack into the 
large pocket under my coat, and pull the unprepared 
pack out of my pocket, so that the drawn cards are, 
of course, returned to an unprepared pack, and may 
therefore be safely shuffled by a spectator. This 
pack is placed down on the threaded packet of cards 
on the side stand, as of old, while the decanter of 
water and card houlette are introduced to the public 
eye. When 1 insert the houlette into the decanter, ana 
slip the cards therein, it is not a difficult operation 
to push the slack of the thread off the edge of the 
table, so that when I lift the decanter and houlette 
together from the stand, the thread comes away to 
the front perfectly free. I take a few steps forward, 
holding the neck of the decanter in my right hand, 
with my left side to the audience, and the slack of the 
thread now taken up. Now, in order to cause the 
cards to rise, it is only necessary to swing the de- 
canter forward with a slight, imperceptible movement, 
which draws the thread taut and therefore raises the 
card. 

With the center table cleared, the tray of glasses 
is now placed upon it, and the wine and water experi- 
ment presented. I always use an attractive-looking 



The Magic Art 199 

set of wine glasses for this trick, for the fluids are 
seen to so much better advantage in this style of 
glass than if the plain water tumblers are employed. 

The sliding die box is the closing item on the 
programme, and as most conjurers have their own 
particular method of presentation for this old-time 
trick, I shall confine my explanation to several 
"wrinkles" introduced in the presentation which may 
be new to some of my readers. 

It will be remembered that all the props for the 
trick are in readiness upon the chair, the shell die 
with hinged lid being concealed behind the folded 
newspaper. I begin operations by picking up the 
caddy and, tipping it over, open the two doors that per- 
mit of showing the interior empty. I then place the 
box on the center table. 

I now pick up the solid die and the chimney cover, 
which are brought forward for examination. I ask 
the loan of a stiff hat, and as both my hands are oc- 
cupied, I drop the die in the hat in order to receive 
the latter, and return with these articles to the chair. 
The hat is rested, crown downward, and still contain- 
ing the solid die, on the chair seat. My left hand 
performs this latter operation, the nickeled chimnej' 
being in my right, and just as the hat is pushed well 
back on the chair, the fingers of the right hand clip 
the folded newspaper and the left hand takes the news- 
paper from the right as I now step over io the table. 
This leaves the shell die effectually concealed behind 
the hat on the chair. My left hand opens the newspa- 
per with a shake, and spreads it upon the table, and 
my right then places the chimney tube upon the pa- 
per. All of these movements are perfectly natural. 



200 The Magic Art 

and the ultimate effect created is, that nothing but. 
the solid die is employed. 

I now return to the chair, and apparently lift the 
solid die out of the hat with my right hand, while the 
left picks up the hat. As a matter of fact, the left 
hand lifts the hat as the right goes down behind it 
and lifts the shell die; the hat is tilted a little away 
from the audience, and the right apparently removes 
the solid die from same, really bringing up to view 
the shell die, and leaving the solid one in the hat. 
The latter is isolated on the side stand, being placed 
crown down as before, and I carry the (shell) die to 
the center table, and cover it with the chimney. Again 
the box is shown empty, and the chimney is also lifted 
once more to prove the presence of the (shell) die 
thereunder. The magic word is spoken; the chimney 
lifted with a little pressure of the fingers to retain the 
shell therein, the die having apparently vanished, its 
absence being further emphasized by pushing the hand 
through the tube. The die is now revealed in the 
box; is taken out and shown, and then replaced. 

Now in working the "sucker" feature of the trick, 
I introduce one of the cleverest die box wrinkles I have 
ever met with. It is an arrangement of my good 
friend, Mr. George C. Staples, a decidedly talented 
and artistic magical entertainer. 

The Staples' die box wrinkle involves the use of 
the little flap already mentioned, which represents on 
one side the four spot side of a die, while the other 
side is finished plain black, to match the interior of 
the die box. This little loose flap rests, in the be^inr 
ning, "spot" side downward in the one compartment 



The Magic Art 201 

of the box, the other compartment being occupied by 
the four-sid3d shell die, as usual. 

When the entertainer succeeds in working his 
auditors up to the proper pitch, by leading them to be- 
lieve that the supposed die in the box is really sliding 
from one end of the box to the other, he finally tilts 
the box right on end, the compartment holding the 
shell die being lowermost. This operation causes the 
little die flap to turn over and rest on the partition 
in the box, the spots on the flap thus being uppermo.st. 
The entertainer now opens these two upper doors, and 
if the box is held in the proper position, the specta- 
tors will think they see one side of the solid die in 
the lower, closed compartment of the box, and will 
voice their opinion accordingly. In due time the box 
is again tilted back, causing the flap to again turn 
dowii on the bottom of the box, becoming invisible ; all 
four doors are then opened, and the die has completely 
disappeared, subsequently being tipped out of the bor- 
rowed hat. 

I am indebted to several writers for some of the 
lines of patter included in the foregoing pages: to 
Messrs. Hatton and Plate for certain phrases in the 
handkerchief effects; to Selbit for the "scientific" 
patter used, with modifications, in the rising cards.. 
When I consider the constantly growing demand for 
good patter, in the light of all the good "lines" now 
in print in current magical literature, all of which 
may easily be adapted to suit the individual's own 
style or trick, I wonder at this cry for "more patter." 

I have said that if an act of a half hour's duration 
is cleverly arranged it can be cut to suit any occasion. 



202 The Magic Art 

from a ten or fifteen minute turn, up to the full half 
hour, Without breaking the original sequence. The 
■foregoing act has served my o~wn purpose well in this 
respect. 

For instance, the series of effects with the Jap 
handkerchief box arid tumbler of confetti, constitute a 
good ten or twelve minute turn. Or, for the sake of 
diversion, I have some times followed the Jap box 
series with the producing egg bag trick, omitting the 
handkerchief and tumbler of confetti. 

Again, in the case of a fifteen minute act, the 
Jap box series, producing egg bag, and the rising cards 
on the decanter, will be found an effective trio. 

In other words, the magical entertainer who mas- 
ters a thirty or forty minute act of the foregoing de- 
scription — who not only masters the skillful perform- 
ance of the various effects entering into it, but like- 
wise has the accompaniment ol patter at the tip of 
his tongue — such entertainer will experience no dif- 
ficulty in re-arranging the particular sequence of the 
act to suit almost any occasion, without the slightest 
inconvenience. 

So far, I have considered only the cutting of the 
act to one of shorter duration. In the case of, say, 
an hour's entertainment the same careful considera- 
tion in the selection of additional tricks must be given, 
and probably the addition of another side stand to 
provide for their exhibition. 

Again, in the further consideration of this act, 
the versatile entertainer will frequently be called upon 
to present his programme under certain conditions, 
or before a certain audience, where spectacular effects, 
rather than those presented more on the order of 



The Magic Art 203 

scientific problems, will be best appreciated. In this 
case the entertainer must be prepared not only to alter 
the order and make up of his act, but certain modifica- 
tions in his patter must be provided for. 

For instance, such a performance may consist 
of the Jap box series (without the handkerchief and 
confetti trick), followed by the producing egg bag; 
the rising cards on the dectanter (presented with less 
"scientific" patter) , and, omitting the wine and water 
experiment, follow the rising cards with the sliding 
die box. The performance is then brought to a spec- 
tacular finish with the Wang Foo production bowl, 
the confetti which it apparently contains being trans- 
formed, first, into a tray of fruit, followed by many 
colored silks, then an American flag, and, finally, vast 
quantities of flowers. This gorgeous' display is 
brought to a finale when the performer throws the 
American flag over a large candle and candlestick, 
immediately removing same and revealing the candle 
transformed into a tableau of the flags of the Allies 
(see Figs. 24 and 25). 

A Suit-Case Act 

Conjurers who confine their efforts to the so- 
called "suit-case act" will obtain the maximum of ef- 
fect with the minimum of apparatus in the present 
arrangement. The sequence is perfect, and the entire 
act is easily made ready, and therefore good at any 
time or place. Presented with the proper dash and 
patter, it is all that one could wish in an act of this 
description. Of course, it is subject to considerable 
variation, so that the performer who wishes to intro- 
duce some of his own particular effects should have 



204 The Magic Art 

little difficulty in altering the arrangement to suit his 
requirements. 

When everything is made ready, the performer 
has a small conjuring stand on his left and a chair 
on his right. A small, heat suit-case, with the lid 
tilted back, rests upon the chair. 

The entertainer makes his entrance, puffing a 
cigarette. After his opening remarks, he pushes the 
cigarette into his closed left hand; strikes the fist a 
sharp blow — ^and the cigarette has vanished! Now 
he draws back his sleeves — ^turns them right back to 
the elbow, and showing both hands empty, he rubs 
the palms together and evolves first a blue silk hand- 
kerchief, followed by a white one. Drawing these 
two magical silks over his forearm, the spectators are 
invited to select one of the colors, say blue; and this 
silk upon being pushed through the closed left hand, 
changes to a red color. The audience laughs, think- 
ing the blue handkerchief remains in the closed left 
hand, whereupon the entertainer slowly opens this 
hand, revealing it empty. 

Now the performer turns the side pockets of his 
trousers inside out, to demonstrate their emptiness. 
The silk — now red — is pushed into the right hand 
pocket, from which it vanishes, passing invisibly into 
the left hand pocket. 

The red silk is now transformed into a red bil- 
liard ball, with which sundry clever passes are exe- 
cuted. Suddenly the ball multiplies to two solid balls 
in the one hand; then to three, and finally to four. 
The balls are then dematerialized In a manner as mys- 
terious as their production. 

The entertainer next introduces, from his magic 



The Magic Art 205 

suit-case, a small broadcloth bag, for the demonstra- 
tion of which he invites two boys upon the stage. He 
turns the bag inside out, beats it upon the table, etc., 
as a proof of its emptiness. An egg is then caused to 
disappear, and is found in the previously empty bag. 
The performer then offers to show his volunteer as- 
sistants "how the trick is done," but his explanation 
only puzzles them all the more. The bag is finally 
carried into the audience, and proven to be empty once 
more. A spectator is requested to hold the bag, and 
the conjurer then draws back his sleeves, and show- 
ing his hands empty, reaches into the bag and brings 
out the missing egg. 

When the entertainer finishes the trick with the 
egg and the bag, he comes forward, wand in hand, and 
asks the loan of a hat. Moving about the stage, he 
seemingly plucks from the air half-dollars innumer- 
able, which he tosses into the hat, until he has accum- 
ulated some fifteen or twenty. Occasionally he varies 
the operation of depositing the coin in the hat, push- 
ing it through the crown of the latter; or, again, he 
tosses the coin high in the air, and catches it in the 
hat. Finally the coins are emptied onto a plate as 
a proof of their genuineness. 

A card trick is next offered by way of diversion. 
The money catching and this card trick really open 
the way, later on, to a hat production. The actual 
working of this card trick is absurdly simple, but the 
effect appears marvelous. 

When the performer begins this experiment with 
cards, he takes a pack from the table and gives it a 
thorough shuffle. Meanwhile, his patter runs some- 
thing to the following effect. Most of this patter is 



206 The Magic Art 

adapted from Prof. Hoffmann's "Latest Magic," and 
the reader is reminded that he can get many other 
good tips on patter from this book. 

"I am about to show you a curious effect with 
this pack of playing cards — an experiment, in fact, 
in magnetism, but magnetism of a new kind. The old 
sort of magnetism was a comparatively poor affair; 
it would only work on iron or steel. Anything else 
it wouldn't attract worth a cent. Now my sort of 
magnetism is a very superior article. It will attract 
all soits of things. So far I have been chiefly experi- 
menting with playing cards, and I will show you how 
the thing works." 

Having completed his shuffle, he now brings for- 
ward the cards and invites three ladies or gentlemen 
to each take one card. They are reminded to take 
free choice, after which the three drawn cards are 
returned to the pack, and the latter again shuffled. A 
gentleman is invited to hold the previously borrowed 
hat for the entertainer. The shuffled pack is dropped 
into the hat, and shaken up a bit for full measure. 
The volunteer assistant is required to hold the hat 
up high. 

"Now I use my wand as a magnet. It is really 
a very pow'erful magnet, and I will make it still more 
vigorous by rubbing it on my left coat sleeve. Do 
you know why oh my left? Do you all give it up? 
Because in this case the left happens to be right. 
Simple when you know it, isn't it? Well, as I was 
saying, I use my wand as a magnet, and I shall ask my 
assistant to hold the magnet for me in this manner." 
He places the wand in the gentleman's right hand — 
the hat, containing the cards, is in his left, held high. 



The Magic Art 207 

"Now permit me to impress upon you just what 
has taken place. Three cards have been selected from 
the pack, returned, and thoroughly shuffled, and the 
pack shaken up in the hat. Under the circumstances, 
it is obviously impossible for me to know the precise 
location of any particular card in that pack; still, 
by the aid of this new magnetism^ I expect- to perform 
a very difficult 'task with ease. May I ask this lady 
the name of her card? The Queen of Diamonds? 
Thank you. The Queen of Diamonds, being a red 
card, I merely touch this end of the wand lightly with 
my finger tips ; reach quickly into the hat before the 
magnetic influence has time to evaporate, and— here 
is the Queen of Diamonds!" 

In like manner the remaining chosen cards are 
picked from the pack in the hat. Sometimes the 
spectator refuses to name his card before the per- 
former produces it. This really heightens the effect, 
and the result is all the same. 

When the trick of the cards from the hat is fin- 
ished, the conjurer recalls that the gentleman's hat 
has not been returned,- and, picking it up, holds it in 
both hands agaihst his body, with the opening of 
the hat toward the audience. It is perfectly clear to 
everybody that the hat is empty. He remarks, "By 
the way, who loaned me this hat?" He steps forward 
as if to pass it down, when, as of old, he "discovers" 
something in the hat, which proves to be a silk hand- 
kerchief. Slowly, very slowly, he removes, one after 
the other, three or four colored silks from the hat, 
finally getting back to the chair, in order to place the 
silks over its back. Again the opening of the hat is 
turned toward the audience, showting it empty, still 



208 The Magic Art 

a half dozen more silks are drawn therefrom. These 
are followed by many yards of very wide, tri-colored 
ribbon, which makes a gorgeous display; next, half a 
dozen pretty little satchels, which are stacked pyra- 
mid-fashion upon the table ; then an immense quantity 
of bright-colored flowers are shaken from the hat. 

The performer again shows the interior of the 
hat to be quite empty, and walks iforward as if to 
return it to the owner, when again the mysterious 
headgear is found to be filled to the brim, as before. 
This time the hat yields up a dozen or more of the 
flags of all nations, ending with the production of 
Old Glory, of course, of suitable dimensions. 

The accessories and arrangement involved in the 
act follow: 

Cigarette Vanisher. 

One blue, one wfhite, and two red silk handker- 
chiefs. 

Ball feke for color changing handkerchief. 

Hollow billiard ball. 

Three solid billiard balls and a half-shell. 

Holmes' ball tube pocket. 

A wand. 

A soup plate. 

An egg bag of the type described by Christopher 
in Chapter 3. 

Three blown eggs. 

A Demon Handkerchief for vanishing an egg. 

About twenty palming coins. 

Holmes' Master Self-Shifting Pack. 

Holmes' Pevil of a Hat. 

A dozen or more colored silk handkerchiefs. 

A bolt of tri-colored ribbon. 



The Magic Art 209 

Six hat satchels. 

A hundred spring flowers. 

A dozen or more 8x12 inch silk flags of different 
nations. 

A 24x36 inch silk American flag. 

Everything is nicely accommodated in the suit- 
case, even to the conjuring stand. The latter, for 
preference, is of the Acme type, as shown in Fig 25. 
The top is provided with a drape, and a portable shelf 
servante at back. 

In setting up the act, the table is assembled, and 
the wand, the pack of cards, the plate and the stack 
of palming coins placed thereon. The coins are hid- 
den behind the plate. 

The suit-case is placed on the chair, with the lid 
tilted open. The Demon Handkerchief and the egg 
bag (containing an egg) are left in the case, and the 
latter is ready to receive the various accessories as 
they are dispensed with during the act. The two re- 
maining blown eggs may rest on the soup plate, on 
the table, until needed. 

The bolt of tri-colored ribbon, the six satchels 
and the spring flowers are made into a compact par- 
cel and held secure by the aid of a broad rubber band. 
This production "load" is suspended from a headless 
nail driven into the chair back. If the latter is open, 
a cloth should be thrown over the chair back to ren- 
der it opaque, thereby concealing the hat load. 

Now the hat used is really the conjurer's own 
property, being known in conjuring circles as Holmes' 
"Devil of a Hat." Many entertainers w^ho are using 
it proclaim it the greatest self-contained hat produc- 
tion in existence. Be that as it may, this Devil of a 



210 The Magic Aet 

Hat certainly will mystify any audience, and espe- 
cially the individual who has seen some hat loading, 
and thinks he is "wise" to your own. Furthermore, 
some of the productions can be made right down 
among the spectators, permitting them to satisfy them- 
selves that the hat is empty, the performer then con- 
tinuing the production therefrom. 

Of course, the hat is "planted" beforehand with 
a friend, or, if this is impossible, it is placed down 
front, and when the performer asks for the loan of a 
hat," he "discovers" it there and proceeds with it in 
the money catching trick. 

In the present case, the hat is duly loaded before- 
hand with, first, the large silk American flag, next 
the small silk foreign flags, after which the colored 
handkerchiefs are packed in on top. It will be noted 
that the hat does not contain, in the beginning, all of 
the articles produced. The ideal way of working the 
hat production with the Devil of a Hat is to have 
several other loads of more or less bulky proportions 
concealed in the usual manner upon a table servante 
or behind a chair back, using the load concealed in 
the hat between the production of the other loads, to 
enable you to show the hat perfectly empty now and 
then, and then immediately . continue the mysterious 
production without a suspicious movement on your 
part. This arrangement makes a most perfect hat 
production, and is followed in the present act. 

And now for the "body loads." The cigarette 
vanisher is properly adjusted under the coat in the 
approved fashion; and one of the red silks is con- 
cealed in the uppermost corner of the trousers' pocket 
on the left hand side. 



The Magic Art 211 

The second red silk is packed into the ball feke 
for the color change, and this ball is inserted first 
into the ball tube pocket. Next above it in the tube 
pocket is placed the hollow billiard ball, and then two 
of the solid balls. The tube pocket is then attached 
under the edge of the performer's coat. The third 
solid ball, with half -shell over it, is placed in the out- 
side pocket of the coat. 

The blue and the white silks, rolled into a com- 
pact parcel, are placed at the bend of the left elbow, 
a portion of the coat sleeve being drawn over the 
parcel to hold it secure, the arm being held, slightly 
bent before the body, in a natural position. 

The performer comes forward, puffing his 
cigarette.. During his opening remarks, he removes 
his handkerchief from his pocket and lightly brushes 
his face. He replaces the handkerchief in his hip 
pocket, which affords him the opportunity to secretly 
obtain possession of the cigarette vanisher in a nat- 
ural manner, and the lighted cigarette is duly van- 
ished. It will be found that this latter operation can 
be performed without revealing the presence of the 
parcel of silks held in concealment at the bend of the 
left elbow, for the left arm is kept in its bent position, 
although moved freely, throughout the manipulation 
of the cigarette. 

■ The entertainer now draws back his right sleeve, 
showing the right hand front and back. The right 
hand then draws back the/ left sleeve a little way, 
while a half turn is made to the left, and the right 
hand secretly obtains possession of the parcel of silks 
from the bend of the elbow in the act pf showing the 
left hand empty. The silks are slowly materialized 



212 The Magic Akt 

between the joined hands, first the white, followed 
by the blue ; after which the silks are drawn over the 
left forearm, and the audience invited to make a choice. 
The performer stands with his left side to the f ront^ for 
this purpose; his right hand, under this cover, drops 
to the side and secures the color change ball from the 
tube pocket. I am presuming, in this description, 
that the ball tube pocket is worn on the right hand 
side, the subsequent multiplying of the billiard balls 
being performed with the left hand; but it is to be 
understood that the arrangement should be reversed 
if it is more natural for the reader to multiply the 
balls with his right hand. 

The choice of silks being made, the silk not chosen 
is thrust into the upper, outside coat pocket, and the 
color change then executed with the chosen hand- 
kerchief. This leaves the performer with the red silk 
and the ball feke (the latter palmed) in right hand. 
He now transfers both to the left, and reaching into 
his right hand trousers' pocket, turns the latter inside 
out. The red silk and ball feke are now taken in 
the right, while the left turns the left trousers' 
pocket inside out. The duplicate red silk, it 
will be remembered, is pushed up in the top 
corner of this latter pocket, and its presence is not 
disclosed when the pocket is drawn out. When the 
pocket is pushed back in place, the fingers at the same 
time draw this concealed silk out of its corner, and 
thrust it down into the -pocket proper. The right 
hand now pushes the pocket on that side back into 
place, and the visible red silk, together with the ball 
feke, are then pushed into this right hand pocket: 
Silk and ball are really pushed up into the top comer 



The Magic Art 213 

of pocket by means of the thumb, while the fingers 
go to the bottom of the pocket as if pushing the silk 
well down. 

The performer slaps the outside of the pocket, 
and cries, "Go!" Showing both hands empty, the 
right hand pulls out the pocket on that side, showing 
the red silk to have vanished. The left hand reaches 
into its pocket and slowly draws out the (duplicate) 
silk, the left side of the performer being turned to 
the front for this purpose. Meanwhile, the right hand 
goes to the tube pocket and secures the hollow billiard 
ball. The hands are joined together, and the silk 
worked into the ball, the latter then being shown as 
a solid billiard ball. 

Sundry passes are now executed with the (hol- 
low) ball, care being taken not to reveal the hole in 
same, during which passes the hollow ball is ex- 
changed for the solid ball and half-shell in the coat 
pocket. For instance, the hollow ball may be appar- 
ently taken in the right hand, being retained in the 
left by the "finger palm." The right hand, shown 
empty, now follows the imaginary flight of the ball, 
finally producing the solid ball, with half-shell over 
it, from the coat pocket as the missing ball. While 
all eyes are drawn to this pocket, the hollow ball is 
gotten rid of into a convenient pocket. 

The precise method for the multiplication and 
subsequent dematerialization of the billiard balls is 
mainly a matter of individual preference. 

The egg and bag presentation has been ably de- 
scribed by Christopher. When it is brought to a con- 
clusion, the entertainer returns to his table and places 
the bag thereon. He picks up his wand with the right 



214 



The Magic Art 



hand, while the left secures the stack of coins, and this 
latter hand holds the coat lapel as the performer walks 
forward and "borrows" the prepared hat. The left 
takes the wand, as the right receives the hat, and the 
latter is shown perfectly empty. 

Like the Egg and Bag Trick, the feat of catching 
money in the air is another conjuring classic, and, well 
performed, it never fails to elicit the greatest wonder. 
The exact procedure in the trick is not always clear 
to many amateurs, so I shall describe a simple method 
as a basis to learn the trick, then as the performer 
becomes more proficient he will no doubt find many 
elaborations which may be added to strengthen the 
effect. 




Fig. -26 
The apparent catching of the money in the air 
is accomplished by the proper execution of the ortho- 
dox coin pass. It has been said that the trick also 
demands plenty of nerve, but I am inclined to the opin- 



The Magic Art 215 

ion that dramatic ability, rather than nerve, is' the 
proper requisite. When the entertainer obtains pos- 
session of the stack of coins, he holds them in the left 
hand in the position shown in Fig. 26. This position 
of the coins is very important, for it enables the fin- 
gers to "feed" the coins, one at a time, into the hat 
each time the opposite hand pretends to deposit a coin 
therein. 

Therefore, when the performer borrows the hat 
and shows it empty, he transfers it to the left hand, 
which seizes it with the fingers (and coins) inside, 
the thumb resting over the brim. The coins are 
pressed against the sweatband and the second finger 
draws down the outermost coin, ready to release it. 

Now begins the search for money. As the con- 
jurer moves about the stage the audience is allowed 
to see that the right hand is empty. Suddenly he 
grasps at the air, and then peering into his hand, 
w(hich is partly closed as if containing something, he 
apparently tosses the object into the hat, the left hand 
bringing the latter forward to meet the approaching 
right. At the psychological moment the left second 
finger releases the outermost coin of the stack, and 
a coin is heard to fall into the hat. The right hand 
is immediately thrust into the hat and brings out the 
coin, some comment being made as to its date or 
origin. Again the coin is apparently tossed into the 
hat, but this time it is palmed in the right, while the 
left releases a second coin in the hat in place of it. 

The search for money now begins in earnest. As 
the entertainer nioves around the stage, he jerks the 
palmed coin to his finger tips, then apparently add- 
ing it to the store in the hat, which is each time sup- 



216 The Magic Abt 

plied from the left hand. Occasionally, the coin is 
actually thrown into the hat, and the right hand 
clearly shown empty; still the performer produces a 
coin from his coat collar, or from the bottom of his 
trouser leg. This diversion is accomplished by the 
aid of a hooked coin, which is, of course, placed in 
concealment beforehand. 

Sometimes the entertainer pushes the coin, just 
caught, upward through the crown of the hat, and it 
is heard to join its comrades with a merry jingle, the 
coin being palmed as the right hand sweeps up to the 
crown, and the left permitting another to fall in its 
, place, after a slight pause, as if the coin experienced 
a little difficulty in peiietrating the headgear. 

Or, again, the caught coin is apparently tossed 
high into the air, and, after due interval of time, is 
heard to drop into the extended hat. 

When the store of coins in the left hand is ex- 
hausted, the performer carries the hat to the table, 
and empties the money upon the plate, making a great 
show of quantity. 

Now the trick of picking the chosen cards from 
the hat is performed, of course, by the aid of my Mas- 
ter Self-Shifting Pack. I like the trick because its 
effect appears simply marvelous, although accom- 
plished without the slightest skill. Of course, the 
sleight-of-hand expert need not resort to the use of 
the prepared pack, although I am of the opinion that 
the present case is one where the prepared pack is best 
employed, for ail the movements are so open and above 
board. When I first arranged the trick, I used the 
Self-Shifting pack, but after devising my Master pack 
I found the latter added to this particular trick, in 



The Magic Aet 217 

that the pack is first given a thorough shuffle, and 
^gain after the selected cards are returned to it. 

When the entertainer has successfully picked the 
last chosen card from the hat, he passes such card 
to the person who selected it, and removes the pack 
from the hat and places the former upon his table. 
Walking forward with the hat, he presently "discov- 
ers" something therein, which proves to be a silk hand- 
kerchief. Slowly, very slowly, he removes, one after 
the other, three or four brightly colored silks from 
the hat, finally going back to the chair, in order to 
place the silks over its back. As is often the case, 
several of the silks slip to the floor, so the conjurer 
stoops to pick them up, and as he straightens his body 
the load suspended behind the chair back is swept into 
the hat. The hat now contains practically the entire 
store of production articles, which are produced in suc- 
cession as already outlined. 

"The Magical Man" 
This might well be called a magical phantasy for 
little folks — and grown-ups too. In proper hands it 
is a riot of fun from start to finish. The startling 
productions and tricks with live stock please the lit- 
tle folks immensely. 

The curtain rises revealing several tables hold- 
ing the strange paraphernalia of the Magical Man, — 
an immense gold bowl heaped with confetti first 
catches the eye; a large crystal jar, a stack of minia- 
ture chests, .and a funny little brick wall follow as 
you move the eye from one table to the other. The 
music has started, of course, and before you know 
it the Magical Man, himself, stands before you. He 



218 The Magic Art 

bows very profoundly and seizes the big gold bowl, 
and scatters the confetti in a glittering shower about 
the stage. Finally he claps a tray over the bowl and 
inverts the latter, and when he lifts the bowl there 
isn't a flake of confetti left— the tray is heaped to 
overflowing with big blossoms of gorgeous hues. And 
almost before you remember what becomes of the 
flowers on the tray, the Magical Man is tossing flags 
of every conceivable nation out of the Wonderful 
Bowl, and presently he claps the bowl mbuth down- 
ward on the table, and lifts it, revealing a flock of 
doves. And then more flowers gush from the bowl, 
until the supply seems utterly inexhaustible. 

"The Fairies' Wonderful Bowl!',' explains the 
Magical Man, as he concludes this marvelous perform- 
ance. "How many of you little folks believe in fairies ? 
Well, there seems to be a lot of you. I am glad to 
see that, because I am going to s'now you a lot of their 
doings this evening, providing tftey are in the mood. 
Let me show you this Magic Carpet." 

The Carpet rests upon the table, and the con- 
jurer picks it up and turns it this way and that, so 
tha;t both sides are repeatedly shown, and even the 
edges, calling attention to the peculiar weave of the 
fabric — "It isn't much to look at — ^just an ordinary 
old carpet in appearance, but there's truly magic in 
the weave." 

The Carpet is obviously devoid of trickery — 
surely nothing could well be concealed in its thin sides ; 
and yet — ^the Magical Man folds it in 'half, a little 
girl makes a wish over it, and — lo, and behold ! — a real, 
live rabbit is shaken out of the Carpet! 

But the Magical Man is not yet through. Where 



The Magic Aet 



219 



there are rabibts it is always possible to get a few 
Easter Eggs, for how are Easter Eggs found in all 
sorts of unexpected places if Bunny doesn't have 
something to do with them? Anybody knows that! 
So the Magical Man takes Mr. Bunny and puts him in 
a brown paper sack. Any other kind of a sack, you 
understand, won't do at all. And he puts Mr. Bunny 
and the sack into a big Crystal Jar, and claps the lid 
on. After what seems a very long time, especially 
when you are right on edge to know what is going 
to happen, the Magical Man removes the lid, pulls out 
Mr. Bunny's brown paper sack, and empties out of 
it a whole lot of brightly colored Easter Eggs ! The 
rabbit is.n't in the bag, either, because the Magical 
Man tossed it right out in the audience. 




Fig. 27 



Fig. 28 



He continues, "Of course, you have all heard of 
Humpty Dumpty — the chap that sat on a wall. Well, 
perhaps you didn't notice this distinguished fellow 
among these eggs. At any rate, here he is!" He 



220 The Magic Abt 

holds up to view an egg with the face of no less a per- 
sonage upon it than Humpty Dumpty himself. 

"What a solemn looking fellow! Can't you 
smile? No? Well, then, I'll have to tickle you," pass- 
ing his hand over Humpty's face, when the latter's 
countenance instantly assumes a very, pleasant expres- 
sion. "We'll put old man Humpty here on this wall," 
placing the egg on the miniature brick wall on one of 
the side tables. "What was that verse about him? 
Does anybody know? Oh, yes — 

Humpty Dumpty sat on a wall, 

Humpty Dumpty had a great fall; 

All the king's horses and all the king's men, 

Couldn't put Humpty Dumpty up again !" 

The egg suddenly rolls off the brick 'wall and 
crashes to the floor, 

"There!" exclaims the Magical Man. "What did 
I tell you? Now what are we going to do-'about it?" 

He picks up the unfortunate Humpty from the 
floor. "You will recall that 'all the king's horses, 
and all the king's men, couldn't put Humpty up on the 
wall again;' but it could have been accorflpHshed in 
the good old days if they had just resort^ to a little 
Magic, and I am going to prove my assertion. If 
some little lady will just make a -good wish for poor 
old Humpty over her handkerchief, and let me take 
it, I think we shall soon have him back again in his 
old spirits." 

A little girl makes a mental wish over her hand- 
kerchief, and gives the latter to the entertainer. He 
slips the battered Humpty into a. glass on the table, 



The Magic Art 221 

and covers the glass with his own pocket handker- 
chief. "Now we have Humpty all snug in the hos- 
pital. I want that little girl to stand up and repeat 
a few words after me." The Magical Man places the 
covered glass on the table, and holds the borrowed 
Handkerchief between his joined hands. "I want you 
to say, 'Handkerchief fly into the glass and make 
Humpty well again — Humpty fly out of the glass into 
the Magical Man's hands.' " 

The entertainer rubs the handkerchief between 
his palms until it disappears from sight, and when 
the little girl repeats the above words, he opens his 
hands revealing — Humpty Dumpty all well again! 
The handkerchief has vanished! The covering is re- 
moved from the glass, and the little girl's handker- 
chief found to have passed invisibly therein, as com- 
manded. 

"You can see for yourselves what a little Magic 
would have done for the king," says the Magical Man. 
"Humpty is not only smiling, but he feels so 'good 
he wants to stand on his head," and the egg is forth- 
with balanced on its pointed end on the very top of 
the little brick wall. 

"Let me tell you about little Johnny Green. The 
most important thing about Johnny was, that he had 
a grandmother who made just about the finest ginger 
snaps that ever were made. How many of you folks 
ever had a grandmother? Hold up your hands. 
That's funny. I notice quite a lot of you that never 
had a grandmother. Now that's too bad. Well, be 
that as it may, Johnny Green's grandmother made 
such remarkable ginger snaps that it got to the point 
where she couldn't keep any of them in the cookie box 



222 The Magic Art 

at all; they invariably disappeared. Not that any- 
body suspected Johnny, of course; but the ginger 
snaps were forever leaving the box, and this set 
grandmother to thinking. You know when grand- 
mothers set to thinking, something usually comes of 
it. Let me show you just what Johnny's grandmother 
did. 

"First she told Johnny that he was never to tilt 
the lid of the cookie box without her special permis- 
sion, and then she fixed things so that she could tell 
if anybody disobeyed her. She had three little boxes 
that looked exactly alike. As a matter of fact, these 
are the identical three boxes. I will show them to 
you." 

The Magical Man brings the three boxes down 
to the audience on a tray, and he shows that one box 
contains tea, another coffee berries, and the third 
and rajost important box of all is filled to the brim 
with real old-fashioned ginger snaps! He shows a 
long tube which he calls a "chim,ney," that just fits 
over the three boxes when they are stacked in a pile. 
When he returns to the stage, he places the boxes and 
tube on the table, and continues: 

"Now grandmother had a very clever idea — or 
what she thought was a clever idea, with respect to 
her ginger snaps. She put them on the bottom of the 
stack, with the tea caddy next and the coffee on top, 
and then she put the chimney over the whole thing. 
The first chance Johnny had to get into the pantry 
unobserved, he lifted the chimney — like this — and 
looked into the boxes. It didn't take him long to dis- 
cover the ginger snaps in the bottom box, but just as 
he was about to fill his pockets, he heard footsteps 



The Magic Art 223 

approaching, so he dropped the boxes, helterskelter, 
back into the tube, like this. He didn't have time to 
arrange them in their previous order, and the cookie 
box went in on top; but when he got outside and 
thought it over, it occurred to him that it was a pretty 
lucky thing for him that the cookie box was on the 
top, for all he had to do was to slip into the pantry, 
snatch up that top box and make way with it be- 
fore grandmother could catch him. 

"So he hung around the pantry window* to see 
if grandmother had been to the boxes, but they were 
exactly as he had left them. Presently he stole back 
into the pantry and again lifted the cover. He 
grabbed the top box, but it didn't feel, somehow, like 
the cookie box, so he stopped to peep into it. Would 
you believe it? See, the top box contains the coffee 
berries, the next box the tea, and here on the bottom 
are the ginger snaps, in their accustomed place. To 
say it plainly, it got Johnny's goat ! 

"He decided to put the boxes back in the chim- 
ney, — first the tea, then the coffee, and the cookie box 
again on top. He watched again, but no one went 
near the pantry, so he again stole, in and lifted the 
tube. Watch! Again the coffee berries are in the 
top box, the tea in the second, and the cookies in the 
bottom box! It fairly made Johnny's hair stand on 
end, I can tell you ! But he had no idea of giving up 
the ginger snaps! No, sir! Instead, he emptied 
them — every single one of them — into this tumbler, 
for instance; and then to cover up his deception he 
slipped an egg in the box where the ginger snaps had 
been. Then he quickly dumped the boxes back into 
the cover — ^first the cookie box containing the egg; 



224 The Magic Art 

then the tea and finally the coffee; and hiding the 
ginger snaps, under his coat, — I'll use this handker- 
chief to represent Johnny's coat, — he ran off to enjoy 
his ill-gotten gain. 

"I guess most of you know what happens to little 
,boys who rob their grandmother's cookie box. Well, 
I want to show you what happened to Johnny Green. 
When he got by himself, he opened his coat, and in- 
stead of having the ginger snaps, the fairies had 
changed them into the e^s'' the performer uncover- 
ing the glass and showing the egg therein instead of 
the ginger snaps. "And when we lift the chimney, 
and examine the boxes, we find coffee in the top box, 
tea in the next, and — yes, here are the ginger snaps 
all snug in the bottom box as before. So, you see, it 
doesn't pay to try to steal grandmother's cookies." 

For the next experiment the entertainer's assist- 
ant brings forward a bottle and two glasses on a tray, 
and places them on the table. 

"This old black bottle belonged to my grandfather, 
but I don't want you to think any the less of him on 
that account. Grandfather was a teetotaler, and he 
never kept anything in this bottle stronger than root 
beer, or ginger ale, or something of that sort. I found 
it while rummaging the attic, and it's got some of 
grandfather's famous root beer in it still." To a boy 
in the front row, "I want you to have a glass with me : 
come right up." The entertainer fills two glasses 
from the bottle, and offers one to the boy. Both 
drink. 

"That's some root beer," says the performer, then 
suddenly turning to the boy he exclaims, "My good- 
ness, but you look pale! Aren't you feeling well? 



The Magic Art 225 

How's that? The root beer tastes queer? . Come to 
think of it, it doesn't taste exactly right. Sit down 
in this chair a minute." 

A chair is pushed forward, and the boy sits down. 
The instant his weight touches the chair, the latter 
collapses and falls to the floor with a terrific explo- 
sion; and as the boy scrambles to his feet the chair 
instantly resumes its former upright position. The 
entertainer hastens to apologize, brushing off the boy's 
clothing, etc. 

"It's bad enough to drink something that disa- 
grees with you, without sitting down on an unobliging 
chair. Are you feeling better ? You still look rather 
pale around the eyes. But I can fix you up all right, 
never fear." . 

The Magical Man brings forward from the table 
three articles : a large funnel, a brad-awl, and one of 
the glasses. He stations the boy with his right side 
to the audience, and places the glass on the floor in 
front of him. He bares the youth's left arm well 
back above the elbow, and apparently punctures the 
arm by the aid of the awl. He then places the boy's 
elbow in the funnel, and working the arm up and 
down, pump-handle fashion, extracts through the fun- 
nel the supposedly troublesome fluid, which is caught 
in the glass on the floor. 

"There you are," assures the entertainer, com- 
pleting the operation; "you are as good as new. I 
wonder what is really in that bottle." He goes over 
to the table and picks up the bottle. "Now that I 
think of it, the stuff did taste queer. We'll investi- 
gate.*' 

He taps the bottle all round with a small hammer. 



226 The Magic Art 

completely shattering it, and revealing the true con- 
tents of the bottle in the shape of a white rat, wnich 
is very much alive! 

For the closing feature of the entertainment, the 
tables are set to one side, and a miniature "Noah's 
Ark," consisting of a rectangular box with ends added 
to it which curve upward, boat-like, is brought on the 
stage and rested upon two wooden trestles. The 
Magical Man lets down the ends of the Ark, and the 
front and back lids, revealing the skeleton frame of 
the structure. The front and back lids are then 
closed, and the ends again swung up into place. Sev- 
eral pails of water are brought on by the assistant, 
and a funnel inserted in an aperture in, the upper cor- 
ner, by which means the water is poured into the 
Ark, as a representation of the flood. When it is ap- 
parently .filled with water, the exit of the animals 
from the Ark begins. The small windows in its front 
are opened, and pigeons, guinea pigs, rabbits and 
ducks are taken out and turned loose on the stage. 
All of the occupants of the Ark are perfectly dry> and 
it is wondered how they are all contained in an in- 
closure the size of the Ark. Finally, the front and 
back lids of the Ark are again opened, revealing the 
interior perfectly dry, as in the beginning, no trace 
of the water being apparent. 

The Magical Man bows; the curtain falls. 

The duration of this novel act is about one hour, 
but much depends lipon the rapidity of its perform- 
ance, patter, etc. Very little explanation will suffice 
to make its inner workings clear, for much of it either 
has been explained in the foregoing pages, or vrill be 
familiar to the magical entertainer. 



The Magic Art 227 

The requisites and preparation follow: 

A center table provided with a bag servante. 

Two side stands with Black Art tops and draped, 
one stand being provided with a shelf servante. 

The Wang Foo Production Bowl. 

The Carpet from Bagdad. 

Crystal Mirror Jar. 

Two brown paper bags. 

Six or eight eggs dyed or painted "Easter style" 
in bright colors. 

A deep soup plate. 

An egg half -shell of celluloid to fit over one com- 
plete side of any medium-sized egg. On the convex 
surface of this half-shell is painted the sober coun- 
tenance of Humpty Dumpty, as depicted in Fig. 27. 
This is easily done with a small line brush. 

A medium-sized real egg, hard boiled, fitting 
loosely into the above half-shell. On one of its sides 
is painted the smiling countenance of Humpty Dumpty, 
as in Fig. 28. 

A medium-sized celluloid egg resembling the hard 
boiled egg in general appearance, also painted with 
the smiling countenance of Humpty Dumpty. This 
egg is further prepared to the extent that an opening 
has been made in its broader end, and somebird shot 
and melted paraffine (or similar substance) run into 
the pointed end of the egg, so that it is sufficiently 
weighted to insure the balancing of the egg on that 
end, like the proverbial "egg of Columbus." 

A miniature brick wall, measuring nine inches 
long by four inches high, or thereabouts. This is 
simply a piece of board painted to represent minia- 
ture red brick, which are outlined with white lines 



228 The Magic Art 

as the "mortar." The board is nailed on edge to a 
narrow base board, while its upper edge has several 
slight depressions hollowed out for the reception of 
an egg stood on end. 

A bottomless glass. 

The Tea Chests of Wang Foo, adapted in the 
present act to the "Grandmother's Cookie Box" trick. 
A perusal of both tricks will make the latter version 
clear. 

A Windecker Dove Bottle, two glasses, a tray, and 
a small hammer. 

Holmes' Trick Chair. 

A Magic Funnel and Brad-awl. 

The Noah's Ark illusion. For our present use 
this illusion made in miniature size will answer every 
purpose; say with a body length of two and one-half 
feet, exclusive of the end pieces, and proportionate 
in height. In designing . this small Ark I have pro- 
vided for the water by means of a "self-contained" 
arrangement, which does away with the necessity of 
running the water off into a receptacle situated under 
the stage; thereby making the illusion suitable for 
presentation on any platform or stage, and even in 
double parlors. 

In this case, the platform, or bottom, of the Ark 
consists of a hollow metal container, concealed by the 
cabinet frame, and accommodating two or three pails 
of water. The supporting rods of the cabinet are in 
fact hollow tubes, one of which opens at its lower 
end into the tank in the bottom of the. Ark; and it is 
into the upper, open end of this tube that the funnel 
is inserted when the pails of water are about to be 
emptied, apparently, into the Ark, 



The Magic Art . 229 



/ 



The boat-shaped end pieces conceal most of the 
smaller live stock, such as pigeons, guinea pigs, small 
rabbits, etc., and instead of concealing a lady assist- 
ant on the inner side of the rear lid of the cabinet, for 
the finale of the illusion, as is customary in the ortho- 
dox version of the Noah's Ark, I substitute in the min- 
iature Ark a flat, box-like container which is fastened 
to the inner side of the rear lid, for the accommoda- 
tion of several ducks. 

In setting up the act, the Carpet from Bagdad 
is laid on the side stand on the conjurer's right hand, 
the load for t^^e carpet consisting of a small rabbit that 
will go into one side of the crystal mirror jar. 

The large production bowl is duly loaded with 
flowers, several doves, and the flags of different na- 
tions, after which the bowl is heaped with vari-colored 
confetti, and placed on the Carpet from Bagdad on 
the right hand side stand. 

On the center table are neatly arranged, the tray 
holding the three boxes for the "Grandmother's Cookie 
Box" trick, and the tall chimney cover. The fourth . 
box used for this trick is hidden behind any small box 
or basket of sufficient size to conceal it. Also on 
the center table are placed one of the brown paper 
bags; the crystal mirror jar, which has hidden behind 
the mirror partition, the duplicate brown paper bag 
containing the colored Easter eggs; the bottomless 
glass; the deep soup plate, whiph contains the hard 
boiled Humpty Dumjpty egg, with the half-shell over 
it, and the miniature brick wall. 

The side stand on the conjurer's left is the Black 
Art stand prepared for the secret exchange of tum- 
blers in the "Cookie Box" trick. To be more explicit. 



230 The Magic Art 

a small tumbler is in view on thi^ stand, while a dupli- 
cate tumbler, containing an egg* is hidden in the small 
well at the front of the table, being further concealed 
by the presence of a handkerchief thrown over this 
corner of the table. ^ 

The celluloid Humpty Pumpty egg is concealed 
about the performer's person so as to be readily ob- 
tained. 

The trick chair, duly loaded with a blank cart- 
ridge, is placed between the right hand side stand 
and center table; and the magic funnel and bradTawl 
are placed on the seat of this chair. 

Off stage, the conjurer's assistant has the dove 
bottle and two glasses in readiness upon a tray. The re- 
ceptacle in the neck of the bottle contains a little root 
beer, or any suitable beverage, and the neck is off 
the bottle in readiness for the insertion of the white 
rat. The miniature Noah's Ark is also in readiness 
for "loading," but the assistant does not put the live 
stock into the Ark until about the time the performer 
begins the trick with the bottle and funnel. 

The actual presentation of the act will no doubt 
be clear by a careful perusal of the foregoing pages; 
but a little detailed explanation of the egg trick may, 
be found helpful. 

When the entertainer places Ijhe rabbit in the pa- 
per bag and deposits both in the crystal jar, he picks 

*It win be found in analyzing this ^ct, that the logical egg 
to use in the "Cookie Box" trick is the weighted Humpty 
Dumpty egg, which has apparently been restored and balanced 
"upside down," .on the little brick wall a few moments before! 
It therefore follows that the duplicate egg in this hidden tum- 
bler should be still another Humpty Dumpty with the "smiling" 
countenance.' The fact that- this egg is decorated with a "face" 
only adds to the mystery of the "Cookie Box" trick 



The Magic Art 231 

up the latter and gives it the necessary half turn 
as he swings round to bring it forward, thus bringing 
the bag of eggs to the front. Having thus apparently 
transformed the bunny into the brightly colored eggs, 
the latter are emptied from the bag into the' soup plate, 
on top of the Humpty Dumpty egg and shell already 
there. The entertainer carries the plate of eggs into 
the audience, and passes them out to his juvenile spec- 
tators as souvenirs of his performance. When he has 
about emptied the plate, he "discovers" no less a per- 
sonage than Humpty Dumpty himself. He picks up 
egg and shell together, as one, exhibiting Humpty with 
the very sober countenance. In a moment the oppo- 
site hand is passed over Humpty's face, and the half- 
shell palmed off, revealing Humpty changed to a gen- 
ial mood. This egg is passed round foi: examination, 
while the performer slips the half -shell under his vest 
or into a convenient pocket. 

Returning to the stage, Humpty is deposited on 
top of the brick wall, the latter being placed close to 
the front edge of the table, so that when the egg fails 
to balance and rolls off, it goes to the floor. Having 
the egg hard boiled eliminates any possible disagree- 
able feature in the trick, apd the egg strikes the floor 
with just the proper sound to convey the impression 
that "Humpty had a great fall." 

The smashed egg is picked up and slipped into the 
bottomless glass, which is held in the left hand, and 
covered over with the entertainer's own pocket hand- 
kerchief; and as he places the covered glass upon the 
table he permits the egg to fall through the tumbler 
into his hand, and slips it into a Black Art well. 

A little girl is now requested to make a wish oyer 



232 The Magic Art 

her, handkerchief, which the performer then takes, 
meanwhile palming the weighted Humpty Dumpty 
from his pocket. The hands are joined together, and 
the handkerchief duly transformed into the egg by the 
simple process of rolling the handkerchief into a com- 
pact parcel, which is palmed off and the egg exhib- 
ited. The latter is balanced upon its small end on the 
brick wall, to show Humpty's delight at his recovery ; 
and when the covered glass is brought forward, the 
palmed borrowed handkerchief is inserted through 
the lower opening, and therefore duly found therein. 

The up "to date entertainer can put this Humpty 
Dumpty trick to many good uses. The faces are 
easily painted on the eggs if the lines shown in the 
photographs are followed. 



The Magic Art 233 

Donald Holmes 

The Kansas City 
Magic Dealer 



Has made for you a line of magical apparatus 
whose originality you appreciate — your liberal 
and constantly increasing patronage proves the 
assertion. 

If, therefore, he has made for you a line 
whose originality and quality you appreciate 
— if he has been of practical service to you in 
any way— your common sense will tell you 
that you are a satisfied customer, and should 
continue to patronize 

« 

The House of Originality 



234 , The Magic Art 



Apparatus De Luxe 

FROM 

"The House of Originality" 

There is an air of distinct individuality about 
Holmes' Magical Apparatus. This line has re- 
ceived the highest commendation from the con- 
juring fraternity, from the standpoint of fine 
workmanship as well as practicability. Magic is 
not a "side line" with us, and. we manufacture 
ninety per cent of our stock in our own shop. 
We carry the largest line of complete, ready-to- 
ship magic goods in America. 

If you are interested in any of the magical ef- 
fects described in this book, we shall be pleased 
to quote prices. 

Our mammioth professional catalog, fully il- 
lustrated, is said to be the finest issued by a magic 
dealer.' It will be sent, postpaid, upon receipt of 
twenty-five cents. 

Superior goods, prompt shipments, and a 
square deal for all have won the confidence and 
patronage of the foremost magicians throughout 
the world. 

Correspondence Solicited 



DONALD HOLMES 

3601 CHURCHVILLE, NEW YORK 




TH£ HADJPK&'lCrilEF STORD from p 115 of 

uonald Hanes THE HaGIG 
ART. 

Maji produces some brightly colored silks - 
These are arranged over a chair back or across 
front edge of a table. Performer now goes to 
audience wi1h a number of small cards, each bearing 
the name of some color, such as red, blue, green, 
etc. Cards are shovn casually to be all different, 
and a spectator invited to select one, note J;he 
color written on it, and then place the card in 
his pocket. Performer returns to stage, gathers 
up the different colored silks, passes them either 
to an assistant or a spectator, who bunches them 
in his hands. 

'4agi now introduces the sword. Assumes a fencing 
attitude, facing the one holding the silks; at 
the count of three the silks are tossed into the 
air; the maji lunges into the falling silks, and 
steps forward with one of the silks impaled on 
the sword tip. The spectator who selected the 
color c'ird verifies the color of the silk caught 
on the sword. 

Method: The particular color is forced on the 
specatator, the lower section of the packet of 
cards bearing different dolor words, while the 
top section has the same color written on sose 
number of the cards. Beforehand the forced silk 
is placed in the sword; a duplicate silk is among 
the ones displayed. As he picics up the silks 
from the table the forced silk is placed in a 
pull and vanished while he is in the process of 
picking up the silks, showing them again, etc.